Available at CthulhuLives.org

Produced by the H.P. Lovecraft Historical Society

Many people try to find some solace in seasonal music at this festive yet emotionally draining time of year. After years of hearing the same classic carols — or more recent covers with no soul and even less imagination — if you’re like me you’re looking for something a little different to inspire the holiday spirit. A Very Scary Solstice by the H.P. Lovecraft Historical Society fills the bill nicely, with 25 Mythos-inspired takes on classic Holiday songs.

Warning: If you are particularly sensitive about the sanctity of holiday traditions, or if your sense of humor has rather rigid and narrowly-defined limits, stay away from this album. My largely abandoned Catholic upbringing suggests that these songs border on the blasphemous, despite their obvious playfulness and good humor.

The first two tracks are amusing, if not particularly memorable: “Have Yourself a Scary Little Solstice” and “Freddy the Red-Brained Mi-Go.” Track three, “Great Old Ones Are Coming to Town” is a jazzy rendition that won’t fail to get your toes tapping as your sanity leaks out your ears. “The Carol of the Old Ones” is surprisingly upbeat for all that the last line is a dirge-like “They will return;” even on close listening it’s difficult to tell if the song was written from the viewpoint of a haggard investigator or joyously anticipating cultist.

Where the album really grabbed me was starting with the Shoggoth Song. Sung to the tune of “The Dreidel Song,” it features a somewhat predictable outcome where a Shoggoth and human are involved together, but still struck a chord with me. “It’s the Most Horrible Time of the Year” also does proud justice to the song it’s based on. “Es Y’Golonac,” totally got to me; if Jose Feliciano were dead, he’d be rolling in his grave at hearing this perversion of “Feliz Navidad.” “On his hands he’s got orifices, and he hasn’t got a head.” Perfect. Take a moment here to thank our lucky stars that parody is still an acceptable form of comment in the United States.

The video for “It’s Beginning to Look a Lot Like Fishmen” has been making the rounds on the Internet and it’s well worth watching at least once. I personally have gleefully tormented a particular co-worker at great length with its catchiness. The song is included here, and is a charmer, basically giving a faithful, thumbnail sketch of Lovecraft’s story “The Shadow Over Innsmouth.”

Other tracks I found particularly notable include “I Saw Mommy Kissing Yog-Sothoth,” “I’m dreaming of a Dead City,” and the terrible tounge-twister “Here Comes Yog-Sothoth.” My favorite track on the album, “Little Rare Book Room,” is much like reading one of the proverbial arcane tomes mentioned within; it took a couple of times through before I puzzled everything together, and then ran screaming into the night.

The great thing about the HPLHS is they do things the rest of us Lovecraft fans wish we had done. Their black and white, silent film rendition of “The Call of Cthulhu”, available on video from the site and reviewed previously on Flames Rising, is an outstanding production –- especially given the lack of a big, Hollywood budget — and should be a staple of every horror fan’s video collection. “The Whisperer in Darkness,” another classic Lovecraft tale, is currently in production as a short film, and I can’t wait to see it. Additionally, two other Solstice carol albums and several radio plays of Lovecraft’s stories have been commercially produced by the group.

I purchased a copy of the “A Very Scary Solstice” album at GenCon, North America’s premiere gaming convention, this past August; I’ve been delighted with my purchase ever since. The accompanying songbook is well worth the extra money; besides including the full lyrics, the book also contains interesting tidbits and trivia about the original songs themselves, about Pagan and Christian Solstice traditions, and even a few bits of lore surrounding popular classic Holiday films. If you consider yourself a fan of H.P. Lovecraft or the Mythos he founded, I urge you to check out this album without hesitation; your sanity or your church group may not thank you, but your friends will.

Review by Bill Bodden

Available at Amazon.com

In what I would consider to be their creepiest selection of music to date, Nox Arcana offers a new thematic CD for Blackthorn Asylum. Inspired by the horrors of a gothic, abandoned asylum, the songs are about over-the-top personal horrors coupled with dark, scientific experimentation inspired by the occult.

Having listened to several of Nox Arcana’s CDs in the past, this collection of songs is a marked difference between their other music. First, there are more piano-based melodies in songs like Blackthorn Asylum and When Darkness Falls. You’ll still hear the wail of the soprano and a harpischord, like in the song Tapestry of Decay, as well as the deep resonating tolling bells that are often present in Nox Arcana’s music. Although there are stormy sound effects and chants present in some of the songs, the primary emphasis of this horror collection is on writing a particular song as opposed to writing a score. With each CD, Nox Arcana gets more and more sophisticated with the way they leverage theatrical scoring with memorable phrasing and melodies.

The songs and the structure of the playlist for Blackthorn Asylum are written with a degree of what I call “high fantasy.” Chanting and evil laughter accompanies the song Hidden Horrors and you’ll hear electrifying sound effects to open the song Shock Treatment before it delves into the song. Not every song is slow and creepy, however, for Phantasmagoria uses a heavy base line coupled with chanting and violin to enhance the mood and pick up the tempo while Frenzy employs fast-paced piano with bells to literally work the song into a frenzy.

There are a few songs which were definitely written in what I would consider to be Nox Arcana’s signature style like The Condemned with its heavy orchestration and occasional chanting and even Spiders in the Attic with its chilling piano line contrasted against the violin. Although this CD is a bit of a departure from song collections like what I had mentioned in the Shadow of the Raven review or the Necronomicon, this is much more akin to a thematic, audio experience like that of Carnival of Lost Souls in which you have a tight focus on a specific story idea.

Blackthorn Manor is definitely a collection of songs that squarely falls into the horror genre. In my opinion, this particular CD is fairly dark and a few sounds border on disturbing. Because of the low, throaty undertones on this CD that remind you what an evil, gothic sanitarium might be all about, this is not a song collection for the faint-of-heart.

If you’re interested in checking out Blackthorn Manor, you can…

Review by Monica Valentinelli

Available at Amazon.com

Music by Nox Arcana
Featuring Michelle Belanger

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.

I had the pleasure of listening to Michelle’s voice live at another concert featuring the band, Urn. At the time, I had commented that the acoustics in a dark, smoky bar didn’t do her voice justice, for she had all the signs of classical training. This CD really brings out that classical training and her voice resonates beautifully. Take my word for it (from someone who was involved with classical music for years), this is not the work of a “wannabe” singer – this is really, well done.

The challenge with any CD theme that Nox Arcana offers is the variety of songs to tell the story. Now, with Blood of Angels, you may expect that there are some ethereal songs that echo church music or heavenly themes, or over-the-top “goth.” Happily, I can say that neither scenario was the case. Yes, there are differences in the foundation of these songs, but it seemed as if they were planned to cover regional areas of the world at different time, to give an ageless, timeless feel to the plight of the Watcher Angels.

For example, Ligeia’s Lament has a Victoriana feel where Ella Sheena is a gorgeous, middle eastern-inspired song that echoes ancient Mesopotamia. The “laments” are similar to bardic style chants, with a blend of major and minor chords, giving it a happy-sad feel. Widow’s Walk reminded me of the 1800-1900 folk songs where a sailor’s wife or girlfriend would sit on the rocks by the sea, hoping her lover would return.

On the surface, the choral, “epic” title song Blood of Angels doesn’t sound like Michelle but it actually is. I found out after I wrote this that Michelle has a range of 4 octaves, and the vocals are all her. The choral pronounces a set of lyrics to a strong beat to finish the CD and offer a kind of finality to the story.

We are the twilight and we are the dawn / We are the silence when all else is gone / We are the anceint ones, we are the flames / Once you would pray to us, call us by name.

As a “bonus” song, Children of Heaven is offered both in its original version and as a club mix. I really prefer the club mix to the original, because I felt the pacing was a bit off. Initially, there is a lot of “information” (speech, vocal tracks, and instrumental moments) to process in a song with a slow beat. The club mix is punchy and the juxtaposition of Michelle’s voice with a dance beat gives it a much, more modern “goth” feel.

I feel that the important thing to think about if you’re going to pick up Blood of Angels is that this CD is a bit different from others by Nox Arcana. With more classical overtones, and a lot more vocals, this is less of an instrumental CD and more of an artistic piece, resulting in something that you can’t really just “play” in the background while you’re writing or trying to find your muse. I don’t really have a comparison of another artist to give you, but just keep the idea that “this is not an instrumental CD” in the back of your head when checking it out.

Look for more Nox Arcana at the Flames Rising Amazon Shop.

Available at Amazon.com

Music by Nox Arcana

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.

Harlequin’s Lament is a gorgeous gothic song, a blend of repetitious chords with a rich-sounding overlay of a grand piano and harmonized vocals in the background. This piece, while not necessarily “circus-like,” shows off the musicianship of Nox Arcana. Next, strategically placed after the melody, is Calliope; children’s laughter echoes in the background of this brooding, circular tune. Madame Endora follows you around and predicts your future, leading you into the Hall of Mirrors. Even though you run away, you may find yourself Lost in the Darkness .

One of the difficulties with creating a CD set in a “Circus Diabolique” is that, if not done properly, a haunted carnival can sound campy or lack general appeal. That is definitely not the case here. Of all the Nox Arcana CDs, there is a wide variety of music offered on this CD, some of which echoes their other work. For example, fans of the Necronomicon CD might find Nightmare Parade and Circus Diabolique appealing. Other than a few songs on this soundtrack, and believe me when I say I’ve listened to all of their CDs repeatedly with the exception of Winter’s Knight, each song is more unique than the last.

Carnival of Lost Souls is one of the boldest moves Nox Arcana has made to date. You won’t hear any playful songs; the music isn’t “painful” or monotonous, it’s something new and different and fresh. What causes these differences? Subtle sound effects like silvery bells, children’s laughter, and a heavy use of synthesized chorals are played upon the backdrop of strong melodies written primarily in minor and harmonic keys. Overall, this is a broad composition that utilizes the full spectrum of volume, pitch, and chords. The use of volume, sound effects, and technique is very evident throughout this CD, especially in the song Storm.

Also offered on this CD is an easter egg. Now I’m not going to spoil the surprise (how much fun would that be); just wait until the end of the CD and after a few moments you’ll hear something you’ve never heard Nox Arcana play before. At first, it threw me off guard but I’ve come to appreciate the song because even though it’s entirely different from what I’ve heard them play, it shows that they are capable of changing styles if need be–and they’ll be good at it.

Fans of Joseph Vargo’s artwork will be happy to know that the CD’s booklet offers us a different look into this setting. Surprisingly, the CD cover is not (in my humble opinion) the best piece in the collection. Just open the page and you’ll see a deeply contrasted ghoulish invitation to “Let the Nightmare begin.” All of the pieces here are professionally done, and there is a lot of rich contrast. Greens, golds and reds adorn the artwork; the tone is appropriate and the style is definitely Vargo’s own.

Overall, this CD shows off Nox Arcana’s skill and musicianship with a large breadth of composition set within a very, challenging setting. This isn’t a CD about scary clowns with bad makeup and evil flamethrowers; this is music that tells the story of the frightened child within all of us swept away by the Carnival of Lost Souls.

Reviewer: Monica Valentinelli

Available at Amazon.com

The Kevins (Ogilvie and Crompton, aka Nivek Ogre and cEvin Key respectively) have been making music for the better part of my life. For twenty-five years, dance floors have shaken and PA systems have whined and protested under the assault that Skinny Puppy launches with their work. In 2004, The Greater Wrong of the Right took me by surprise. At the time of the CD release, the band had been essentially defunct for the better part of thirteen years. Rumors had circulated through the club scenes and across the “better to doubt it than to believe it” discussion forums of the online community-at-large that Key was working with Ogre and Mark Walk on the tour supporting OhGr’s SunnyPsyOp as a drummer.

That rumor turned out to be true. Not too long afterwards, a new Skinny Puppy release was locked in the sweaty-handed death grip of my thick, troll-like fingers.

A tour followed – a long tour, all things being equal – and then all that we thirty-somethings who were still clinging to the resurrected legend of Skinny Puppy could hope for was that the new Puppy release was not a singular event. With the 2007 release of Mythmaker, my fears related to the singularity have been assuaged.

The Greater Wrong of the Right was a glimpse through the keyhole at the musical and sonic evolutions that Key and Ogre have experienced in their time away from one another. The sound was familiar, but it was markedly different. This was to be expected. Both artists had grown and had found their respective levels of comfort with their art forms in the time it took them to reinvent their respective identities outside of Skinny Puppy. Thirteen years later, two very different people got back together and reinvented the outfit that, for many people, was the definitive example of North American industrial music.

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.

The vocal similarities between Too Dark Park and Mythmaker cannot be denied. Ogre is at his personal best for this effort. Key’s music is stunning regardless of the vehicle he chooses to deliver it… but he has never been as impressive with his side-projects and solo efforts as he has been when he is composing the sounds that are the spinal column of Skinny Puppy. Mythmaker is no exception, and the music he has delivered with this effort is easily a toe-to-toe match for his critically acclaimed solo works such as The Dragon Experience and The Ghost of Each Room.

The movie samples are back (I caught at least one from “Invasion of the Body Snatchers”), and while there is some filtering and production on Ogre’s vocals throughout various tracks, they are vastly less harsh and than they have been on past albums where his vocals were rendered inaudible for all intents and purposes. The production and direction of Ken Marshall is absolutely top notch stuff, and Puppy has not sounded quite THIS GOOD in a long time. There just are not any disappointing tracks on this CD. Even the tracks that seem forgettable at first will grow on the listener over the course of three or four complete spins of the disc.

Everything just kind of seems to come together, seamlessly in fact, throughout the ten tracks of Mythmaker. This is one of those Puppy releases that you pop into your player, and before you know it… it’s over. Every track compliments the next, hearkening back to the era of Too Dark Park and Last Rights… but with the overall maturity of sound inherent to The Greater Wrong of the Right.

As I said in the beginning, Skinny Puppy has been making music for the better part of my life. At thirty-five, I’m pretty far removed from the club scene and from the majority of the live shows that I’d like to see. I have a child, a wife and a career now, and while music used to be my obsession – something that came first and foremost in my life – I’m not even sure that it is in the top ten of my current lists of priorities. But when I hear Mythmaker, I feel young again. I feel like I did when I discovered Skinny Puppy for the first time. That is an absolutely fantastic feeling.

I won’t be missing this tour.

The Dog is resurrected and walks among us again.

Long live Skinny Puppy.

Reviewer: Shannon W. Hennessy

Fanez-Vous Pour Noircir (Fade to Black): a soundtrack for plunder and mayhem

Presented by Full Moon Studios and Lame Duck Productions

Original scores written and performed by Virgil Franklin

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.

Fade to Black is, first and foremost, background music that cues into historical music and inventive melodies. Virgil did a good job of blending the old with the new, this CD is exactly what you’d expect for the genre. Some pieces may be considered “folk” music (Drunken Sailor); other melodies like Satan’s Stowaway are a bit darker, taking their inspiration from what lurks beneath the sea’s rolling waves.

Regardless of your tastes, there is an even keel to the music, partially due to the fact that it was performed using electronic mediums without vocals, so even the most rollicking wave of notes won’t fluster your sea legs. As a whole, the simple presentation of the CD, the use of a synthesizer, and the well-balanced composition justify the concept that this is meant to be utilized for background music. While some people may prefer to hear more arrgh’s in their pirate music, there is something to be said for picking up a good, old-fashioned background music CD that helps set a mood when role-playing games 50 Fathoms by Great White Games. This type of music won’t interfere with your session–it will enhance it by adding a steady ebb and flow of piratey goodness.

So if you’re looking for something to play in the background at your next 7th Sea or GURPS Swashbucklers session, this would be a good CD to pick up.

Reviewer: Monica Valentinelli

Available at CDbaby.com

Out of the Ether ~ Virgil

Track List

1. The Tomb
2. Outer Darkness
3. Blue Crypt
4. The Lost
5. Undertow
6. The Chasm of the Soul
7. Possession
8. Torment

First impressions are always very important when regarding almost anything. It’s what sets our mind for any future interactions with anything. And regardless of how hard you try, you will always give in to first impressions.

With that said, let’s move on to my first impressions of this CD by Virgil. 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.

Don’t get me wrong, this CD does have its up moments. Track 7, which is Possession, is a wonderful piano piece. This is the one track that I think I didn’t totally space out on. It truly demonstrates his ability to play piano and to compose music. This is the one track off the album that I think shows where Virgil can head if he decided to develop his own musical ability. The piece itself is beautifully tragic in its sounds, incorporating many feelings within its overarching sound.

Musically, each track starts off wonderfully. The idea he presents is both unique and interesting to listen too…for the first 4-5 minutes. All in all, the track length wouldn’t have been so bad if he would have interjected some different idea in the center to offset the length. Ear candy is always a good thing with long tracks, that’s what makes songs such as live versions of Freebird and The Watchtower nice to listen too even if they are insanely long for a rock song.

As far as applications in gaming, I haven’t tested it out so far, though I am planning on using Virgil as one of my background tracks for my role-playing group. I have an idea that this track is wonderful for gaming. The extended suspension throughout the CD adds a wonderful horror and tension dynamic to those listening too it. And it is great background music because there are no talking or vocal parts in the CD. There is nothing to distract your players from their overall game.

All in all, do give this CD a shot, if not for personal use for gaming use. It adds wonderful ambiance and a great new comer addition in music. I look forward to seeing how Virgil develops as a musician in this genre of music. It’s a tough world out there, and with bands like Midnight Syndicate and Nox Arcana setting the standards, there is definitely room for him to improve.

Reviewer: Crystal Mazur

Available at Amazon.com

Initial Impressions

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.

Production Values

Darklore Manor is an independently produced compilation of traditional gothic music (i.e., the album is harpsichords and violins, not electric guitars or re-mixed dance music) composed specifically to serve as the score for a dark and mysterious roleplaying campaign. Marketed on a compact disc and consisting of twenty-one original tracks (only two of which contain vocals), Darklore Manor is devoid of the cheap sound effect shticks that seem to compose the bulk of similar efforts and, instead, is simply a compilation of haunting melodies.

What’s more, Darklore Manor isn’t merely music – it’s good music. Rather than a hastily compiled mishmash of random musical notes minced with substandard sound effects ripped from an amusement park ride (i.e., creaking doors, ghostly laughter, etc), each track on Darklore Manor is a carefully crafted piece of honest to god music that is not only evocative of gothic haunts, but is also easy on the ears. If more amateur musicians poured half of the time and effort into their campaign scores as Nox Arcana has into single tracks, I’d own many more such compilations.

Finally, the graphic design of the physical packaging and the disc itself is far above the standard that I’ve come to expect from self-produced compact discs. Indeed, having once worked for a multi-million dollar company that mass distributed media on compact discs, I can say that the production values of Nox Arcana are easily on par with those of much larger companies – from the full color, multi-page, insert (an insert that, incidentally, regales the reader with the tale of the titular Darklore Manor) to the high quality, full bleed, disc graphic (an ornate pattern of Victorian persuasion).

The Final Verdict

After listening to the disc a few times, I still like what I hear (and, ultimately, that’s the real test of a musical compilation for me). I like the haunting, purposeful, melodies of Nox Arcana, as well as their decision to regale me with music, rather than sound effects. I like the atmospheric graphic design of the packaging and the entertaining (if ultimately irrelevant) legend of Darklore Manor. If you run a regular horror campaign and find yourself wanting for atmospheric background music, I wholeheartedly suggest that you give Darklore Manor a listen.

Reviewer: James D. Hargrove

Track List

1) One Last Day
2) Embrace
3) Father Dearest
4) Angels are Weeping
5) Liar in Waiting
6) Little Tin Goddess

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.

The music flows in and out of its haunting lyrics, sometimes taking front stage, other times the backseat to the vocals. As an overall album, this haunting sound takes you by the hand, and into the world of URN.

One Last Day is the opener for the album, and what an opener it is. Lyric wise, it is a plea to spend one more day on earth with someone. The vocals do a wonderful job complementing each other. Their vocal support along with the guitar harmony makes a wonderfully haunting mix. Music wise, it opens with a simple piano solo, which develops into a wonderful guitar solo, then into a band verse.

Embrace is a bit harder on the guitars that One Last Day. It gives an energy and pulse to the album. The guitar/bass/drum break in between the verses is amazing. Rhythmically challenging, URN keeps up the beat and pulls through wonderfully. On the second repetition of this, the piano joins in, giving it a completely different sound, but still keeping the pulse of the song.

Father Dearest is by far the most lyrically catching song on the album. It is sung by the two lovely ladies of the band, and boy what a job do they do. They are mourning their father, and the music backs up that feeling. It sounds more like a funeral requiem than anything, which fits the mood of the album, as well as the band.

Angels are Weeping is the one song that I don’t care for. The music is wonderful, but the soprano line just doesn’t appeal to me. The vocalists all have amazing voices, but I think the operatic Soprano line doesn’t fit the feeling of the song. Unfortunately this would be my pick for least liked song on the album.

Liar in Waiting is a wonderful bass driven song with an underlying Waltz Feel (trust me, its there). The gothic piano gives a great dark overtone to this song.

Little Tin Goddess is definitely the most upbeat song of the album, and it’s still rather dark. With rock guitar lines and fast tempo, this song powers through till the end, giving us a picture of the Lord of the Night. Beckoning all those to come to her, she seeks to rule the night.

An overall impression of this album is this: the band has enormous potential. Desecrated Ashes is a great start for them, but they have a lot of room for improvement. Give this album a shot, especially if you are looking for mood music or to just relax too.

The band has also lost members since the recording of this album. Overall, I think it was for the best. The addition of Ian Nothing was very apparent during the concert at the Main Stage in Waukesha in April. I was blown away by not only their stage presence, but the development of their sound. If they keep this up, they could end up big. You will definitely be reading more about them from not only me, but the Flames Rising Staff as well.

Happy Listenings!

Reviewer: Crystal Mazur

Available at Amazon.com

A Spellbinding Musical Tribute by Nox Arcana

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.

It is crystal clear to me, as a listener, that this CD has a different purpose than other instrumental CDs—the composition of this CD is not meant to be subtle, it is both bold and artistic. Drums are the heavier brush strokes in many of the songs, like “The Stars Align”. Filling in the details is a symphony of strings, a blend of ghostly voices, and the gentle stroke of well-mixed woodwinds. Pacing and timing varies, to outline the faint footsteps of the summoner arrogant enough to raise “The Great Old Ones.”

The music in Necronomicon tells the story of an arrogant sorcerer acting out his evil designs. Accompanying him are disembodied voices both warning and approving, as well as an orchestration of unseen hands playing various instruments. If you listen carefully, you’ll hear the occasional gong of death tolling. The music is true to Lovecraft; harmonic melodies seem to be inspired from folk music from all over the world. “Cthulhu Rising” borrows notes from eastern Europe as the thing’s tentacles creep from murky, watery depths; thin strings whine of Arabic deserts and northern Egyptian breezes in “Temple of the Black Pharaoh.” Pieces like “Eldritch Rites” and “Nyarlathotep” are more theatrical than they are musical; a twisted sorcerer breathes life into ancient rituals through powerful chants and Lovecraft’s words. The musical talent put forth in the CD comes from a variety of sources—however to my trained ear I couldn’t tell if the elements were entirely synthesized or if they were performed in a studio. Translation? No note was off-key, no mistake was made (that I could tell); the performance was flawless, a occult mosaic planned and executed with rhythmic precision.

One of the unique things about Nox Arcana is the way they tie in an artistic vision to their products. Necronomicon is a shining example of this. The CD cover is a picture of a bony, wooden face that reaches out to its viewer with swirling tentacles—a subtle play on the concept of “the green man”, perhaps? I took the liberty of picking up some of Monolith Graphics’ other products, like the Dark Realms magazine. The art, created by Joseph Vargo, is gothic in a way that leaves more to the shadowy imagination through its simplicity than any photograph or pen and ink etch. The style is clean, simple and consistent; shades of a color with subtle accents. These are pieces you’d hang on your wall—images that you’d swear were looking at you in the dead of night.

Nox Arcana’s Necronomicon is a masterful blend of dark desires and the Cthulhu mythos. The CD is an impressive tribute; to appreciate the sum of its parts it should be played as a stand-alone piece replete with candles, cobwebs, and musty books.

Reviewer: Monica Valentinelli

Look for Nox Arcana music at the Flames Rising Amazon Store.

Available at Amazon.com

Music by Midnight Syndicate

Review written by Monica Valentinelli

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.

Once of the challenging things about writing and producing instrumental music, is that it needs to appear effortless, continuous, and distinguishable. The music in “The 13th Hour” fits into a story; the tempo quickens with your breath, the minor keys swell into harmonic chords as your blood chills. The ebb and flow of the music would do well for any horror movie as well as any Lovecraft tale that presses on about conjuring a “Sinister Pact” with something dark or watch the “Return of the Ancient Ones.”

A masterful blend of seamless orchestration, “The 13th Hour” accomplishes what a great number of horror music anthologies can not—it transforms music into mood, without sounding campy, jarring or too electronic. You won’t find wolves howling or bones rattling on this soundtrack, but you don’t need to. Midnight Syndicate has offered its listeners a CD that is both functional and jarring—you feel a bead of sweat dripping down your forehead as you hear this music in the background of your Call of Cthulu or Vampire: the Requiem game. You know that something comes your way, and shiver as you feel a cold breeze that may not necessarily be coming from your icebox. The only drawback to these songs is that they have such minute subtleties that they require playing on a decent stereo.

“The 13th Hour” is truly the best instrumental of its kind. Midnight Syndicate summons more than haunting melodies on this hour-long CD, offered through Amazon.com for $13.99 new. Not a bad price considering the painstaking care these artists have taken to help you feel…fear.

Other Midnight Syndicate projects:

Vampyre * Born of the Night * Dungeons & Dragons Soundtrack