Inspired by the horror writer Edgar Allen Poe, Shadow of the Raven is a musical interpretation of his life and his works through a variety of sounds. A rich, baritone voice representing Poe narrates the beginning of the songs in Darkest Hour. His narration ends with a line that speaks of dead things, lurking about in his crypt.

This musical selection is a departure from some of Nox Arcana’s other CDs, because it employs an instrument wholly fitting for Poe’s era — the piano. Mysteries of the Night is a gorgeous piano melody that erupts into a duet with a violin, accentuated by a tolling bell. Listeners do not have to play the tracks in any sort of an order to experience the full effect of this soundtrack inspired by many of Poe’s short stories. You’ll find songs like The Pit and the Pendulum and The Tell-Tale Heart that feature interesting sound effects. You’ll hear sounds like a door creaking, a screeching cat, a pendulum swinging and a heart thumping. Each effect is integrated into the song, so that it becomes part of the rhythm, as if you couldn’t listen to the music without them.

When you listen to instrumental music or a movie soundtrack in the background while you’re playing game, it’s very challenging to find music that fits a Cthulhu game. Part of the problem is that there are a lot of droning, repetitious soundtracks that sound the same from song to song. The other side to that, of course, are the soundtracks so recognizable that no matter how softly you play them, every one of your players knows what songs you’re playing. In gaming, music often plays multiple roles to heighten or enhance a mood, to “speak” to the theme of the game and to be playable whether the dice is rolling or not. In a lot of ways, music played for any game has to have a lot of variety because there’s a lot of activity going on in game that will “drown out” the music playing in the background.

The newest CD from Spirit Creek, A Culture of Unaccountability, is the much anticipated CD release from them for several years. After a too long sabbatical from the band, they appeared out of nowhere on the scene again in Milwaukee, bringing with them their original lead guitar, Drew Ingle, and new bassist, Mike Jakubiak, as well as a brand new sound. Taking inspiration from Pearl Jam, Lacuna Coil, and The Cure, A Culture of Unaccountability has breathed new life into the Spirit Creek lineup.

After the introduction, The Black Co. bursts into the speakers, driving home the concept behind the album title.

Review by Crystal Mazur

Michelle Belanger lends her soprano voice to this musical selection by Nox Arcana.

Like their other selections, Blood of Angels is based on a theme. In this case, the idea that the “Watchers” alluded to in myth and religious texts were angels that fell from Heaven to fall in love with humans.

Nox Arcana’s newest CD in their collection is devoted to the grim, grotesque and the macabre all found within a dark carnival. The CD opens with an introduction; the ringmaster, voiced by Joseph Vargo, welcomes one and all to the “circus of the strange.” Indeed, this CD is “strange” for on it you will hear a blend of organ music, children’s voices and haunting melodies.

Mythmaker, while affording Key and Ogre their individualism as musician and artist and possessing the “updated” sound of the current iteration of Skinny Puppy, reaches back in time. Back into the closets. Back down into some of the hidden holes and shallow graves that the band had dug with their bare hands back in the day when they began pioneering away from Winnipeg and into the faces of the rest of the world, changing the meaningless term of “post-punk” into the force to be reckoned with genre of modern industrial music.

Ahoy matey! These days pirates and swashbucklers are all the rage on land and on sea. With roleplaying games like the recently released Conan: the Pirate Isles by Paizo Publishing and the older title Skull and Bones by Green Ronin out on the market, it should come as no surprise that GMs and players alike are on the hunt for some mood-setting music.

The intro track had set a wonderful feeling for the soundtrack, giving a nice intro and everything. As the CD got going though, I found my self increasingly tuning it out. Not because the music was boring, but because besides the first intro track, every track is well over 5 minutes a piece, most being 7-9 minutes in length. Now, this isn’t some mainstream CD, so track lengths aren’t really applicable here. But over 7 minutes of non-developed musical ideas makes for a very boring CD to listen to.

I’ve been picking up various motion picture scores (not soundtracks) and King Diamond albums (no kidding) for years to use as background music in my campaigns, but I’ve never been very impressed with any self-produced albums meant specifically to serve as roleplaying campaign scores. For the most part, I’ve found such efforts to be of an amateurish quality at best, often sounding more like a funhouse sound reel than a musical composition. Nox Arcana changed this by delivering a polished, professional and purely enjoyable product in Darklore Manor.

Desecrated Ashes was the full release of the EP Consecrated Ashes. The release year was 2003, and the band has continued to do well. URN is based out of Chicago, but has toured in many cities. They have even had airplay of their music in Canada and Mexico, not to mention the United States.

On first listen, Desecrated Ashes was a little hard to get into. Honestly, I felt very indifferent about the album. After more listening, I really started to warm up to the music.

Nox Arcana delves headfirst into the darkness with its musical tribute to the Cthulhu mythos. Creating a haunting festival of sounds to this is a challenging feat—every day that passes Cthulhu transforms into more of an icon than a mere concept of Lovecraft’s imagination. Nox Arcana delivers its tribute in a jarring way; this is not a CD that should be idly played in the background, this is a performance that demands your attention.

Haverghast Mansion sits beyond a path through the mist, where crickets herald your coming and cascading violins cry of deadly possibilities. “The 13th Hour”, a “haunting blend of horror movie music, dark orchestration, and chilling sound effects”, is more than just a group of sounds thrown together on a page. It’s a purposeful collection of music designed to tell a story from the first song title to the next. Songs like “Mansion in the Mist” conjure images of a Victorian mansion decayed through time and neglect, flow into the next by an expert set of unseen hands.