Sombre Arcane is a collective that needs no introduction. Going above and beyond to produce an electrifying amalgam of Dungeon Synth music, they are quickly becoming a premier element in the genre and have amassed a favorable following. Combining an exceptional mix of electronic and traditional instruments, they successfully craft masterful pieces that become more than just songs, but an unparalleled sonic adventure. ‘Realmsong’ finds the duo in top form as they weave their spell through twelve finely crafted canticles with sheer brilliance.
Taking a wistful approach on the album opener, “The Time-Space Conundrum”, somber melodies are met with galloping instrumentals that present a classic synthwave vibe. However, before the completion of the track, Medieval harmonies and drum beats turn this atmospheric offering into a Dungeon Synth anthem. Following up with “Rhythm Of The Saintless”, a harrowing drone commences, as we wait for whatever intonation comes about. With almost a jubilant delivery, dreamy keys belt out a traditional Dungeon Synth chop. Before too long, additional chord transform this track to a battle-ready opus that elicits the fighting spirit in all of us. “A Day’s March Through The Ancient Elven Forest” brings back eloquent effects and fills the empty space with chirping birds and brisk ambient tones. A quixotic synth melody penetrates the darkened soul and loops in a much wanted pattern before percussive elements enter the mix. Keeping a serene resonance throughout, this is one for the dreamers and forest wanderers that disengage from the sense of time. “Moon Sphere Of The Dancing Court” commences with the inaudible banter of a crowded tavern and then glossy instrumentals pave the way for a peaceful transition into vast landscapes and tranquil haunts. “Dinomace” takes us back to the battlefield with a velvety cadence that instills a sense of pride and victory with each and every note. The drums are very progressive and the lush textures are a warm welcome as well. “Kelthas The Dread” follows, with a meditative sound and pensive production that constructs an abysmal scenario with a massively rich tone. There is a nice dose of distortion on some of the keys that beefs up the modulation and the overall output is that of angst and betrayal. The distressing “Dread Certainty Of Our Chosen Path” is an ominous gouge at the psyche and the emotional output that pours from within. The arioso of the main riff is not only tasty, but one that can be enjoyed over and over again. A darkened cadence is introduces and provides the feeling of a sudden loss and the ensuing dirge that is needed for comfort. This is one of my favorite tracks on the album and I’m sure many other will feel the same way about it. “Devilry Of Inertia” is a beautiful follow up to such a deep track, that it’s easy to get lost in all that’s going on. Wondrous layers of celestial ambience creates a comforting sensation. Suddenly, this transforms into a Crypt Hop masterclass with thunderous beats and whimsical melodies. Truly unexpected but also extremely enjoyable. “Lansharra’s Leavetaking” is another masterful tune, as this piece aquatints the listener to a sonic vocal that layers folk sounds with noble storytelling. I can imagine drunken commoners at a local pub in a far away ancient kingdom, paying homage to their ancestry and love ones with this amazing vocal effort. “Finley’s Rest” is another placid effort of precise instrumentation and soothing background ambience that depicts an early morning dawn of halcyon times. Layers of magical instrumentation builds throughout the track and it eloquently leads into the next track, “Jebrin’s Ride Home”. Starting with some comfy textures and a synth effects that’s buried deep in the mix, this is a luscious guitar piece that renders pastoral vibes in a jubilant countryside setting. The final track on this magnum opus is the hypnotic “Return From Dragonspear”. Mixing dark undertones with warm instrumentation, this track sets a dynamic and climactic ending to the ‘Realmsong’ story. With an alluring orchestration mixed deep in the background, everything suddenly surges to a roaring grind, as the multitude of effects clash in unison. However, it comes to a halt and is calmly replaced with a suspended piano melody that will succeed in melting hearts. The pace begins to grow again and powerful guitar and drums synchronize in a heavy but melodic ending.
Sombre Arcane first struck Medieval gold with their 2018 self-titled demo. Gaining a huge momentum (and fan base) from that effort, it help paved a path of immeasurable opportunity to excel in the wondrous Dungeon Synth community. Now, with the release of ‘Realmsong’, they’ve cemented their place alongside the genres best. This is an album of beautiful orchestrations, galloping instruments, spacey ambience and a conglomeration of other effects that results in one of the best, most diverse Dungeon Synth albums in a while. Although this album has been out since last year, I can’t recommend this one enough. Check out the link below and support this amazing artist and their craft.
Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!
Although only having a short endeavor in the realm of Dungeon Synth, Arbadax has already produced five captivating albums that dive into the mythos of ancient ventures and Medieval lore. On the latest outing ‘Yithian’, Arbadax submerges into a Lovecraftian world of horror and intrigue over ten astonishing tracks that become the outlet for fantasy and chicanery.
The album boldly commences with “Vortex Of Time”, a synth dirge that intricately weaves peculiar harmonies and momentous ambient tones. Complemented with a tribal-like beat, the overall obscure melody loops infinitely while soundscapes develop random clusters of sonic sound structures. This is just the arcane lead off track that this album needs to push through this collection of arsenic hymns. Following that amazing introduction is “Disembodied Consciousness”, a merger of enigmatic synth chops and sinister acoustic guitar riff that spreads its proverbial angst for the duration of this haunting track. “Projection” begins with a soothing radiance that is more inline with traditional Dungeon Synth, and contains a melodic ambience that resonates deep within the soul. Thumping percussion bits adds a mournful characteristic of impenetrable battles. Esoteric sound effects complete the odyssey of this track, creating a bleak adventure like no other. “A Strange Existence” starts with thick and obtrusive keyboard effects before a cleaner synth emerges, adding a cryptic layer of effulgence to the overall sound. Moments of synthwave excellence can be heard throughout, as this track continues a sonic build until it’s conclusion. “Disturbed Visions” initiates a dreamy synth sound that suffocates the listener with a thick, brooding lead that emulates a tone that can be heard from underwater or a far off distance. Various synth leads compete for auditory space as they weave amongst themselves with assorted flare and cadence. “Upon The Horror” is an edgy piece that contains whimsical keys and tense buildup, as this faster-than-normal paced journey develops into a haunting forest synth monument. “Aeon-Dead Black Gulf” is like a nighmarish scene as random pulses of energy create a series of cosmic pulses that rage out of control before suddenly shifting into a classic synthwave anthem. Sounding more like a track from an 80’s horror movie soundtrack, this is probably my favorite track on the album. “Down From The Stars” showcases an industrial ambient beginning before settling into a malevolent drone, and then ultimately fusing into a consoling synth piece that is more in line with Forest synth (with a touch of comfy synth as well). “Scattered Echoes” is a light-hearted song with modulated sound effects and a light drone in the background. Delicate guitar melodies add a sense of ease, as this is one of the lighter (and warmer) tracks in this collection. The final track is also the longest one on the album. “Abyss Of Sleep” is nearly eight and a half minutes long and borders on the edge of strangeness and synth wizardry. Mostly consisting of minimalistic keyboard chops, there is a looping bass sound that is quite amusing and works well in conjunction with the various synth manipulations that take place throughout. This is definitely an interesting piece of music and fits right in as the closing element of this bizarrely astonishing album.
With five albums released in just a year and a half of time, Arbadax is quite the busy artist and has done an excellent job of producing material that is memorable and that successfully translates awesome stories into masterful Dungeon Synth songs. On latest effort, ‘Yithian’, Arbadax summons the spirit of Lovecraft and renders a fascinating tale into a spectacular audial escapade that eclipses the Dungeon Synth genre and ventures into other musical territories. This is a wonderful album that I recommend to fans of both Dungeon Synth and the Lovecraftian universe. Please check it out at the link below and show your support for this enigmatic artist.
Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!
These days, there are all forms and styles of Dungeon Synth. There is certainly a variance that aims to please not only the seasoned Dungeon Synth fan, but also for those that are curious if this genre is the right fit for them. One artists that has taken a different approach to curating a unique brand of Dungeon Synth is Baerdcyn. A fantastic multi-instrumentalist, Baerdcyn intertwines a plethora of soulful sounds and consoling ambience to create Acoustic Dungeon Synth. With a handful of beautifully textured albums, Baerdcyn invites us into his world to discuss his particular brand of music, his instruments and well, all things Baerdcyn.
1. I really appreciate you taking the time for this interview. How has 2022 been for you so far?
Not too bad! Busy with work and life, but that’s never a bad thing.
2. When did you get the idea for the Baerdcyn project and what were some of the objectives you sought to achieve musically?
Baerdcyn started in late fall of 2020 when my friends pushed me to play Dark Souls for the 1st time. I have always had the idea of making “Acoustic Dungeon Synth” before having owned a lute and some recorders at the time from my love of historical renaissance classical music. I never brought the idea to fruition however until I heard the menu theme and the “Firelink Shrine” theme from the 1st Dark Souls. When I 1st heard these tracks, they brought to me a feeling of orchestral Dungeon Synth. I promptly made a cover of the “Firelink Shrine” theme (Which has yet to see the main light of day) and from that recording process is what led to the ideas behind my debut.
3. What’s the meaning behind the name Baerdcyn?
So the name’s meaning itself was a complete accident. And for the record for all you reading, the pronunciation is (Bard-Koon) the “ae” is supposed to be an “æ” but alas I didn’t know how to get it to work on my phone at the time. The “y” in Old English is pronounced kind of like a cross between “ew” (in “ew that’s gross”) and “oo” (in “Racoon”). Back to the meaning of the name, I originally just made it because it sounded cool, but in the long run, you could take the modern english “Bard” and the Old English “Cyn” , meaning kin or offspring, to make a meaning of “The Bard’s Kin” or a little more interpretively, “The Son of a Bard”
4. You play a variety of instruments on your albums and you seem to excel at them all. Are you self-taught or do you have any formal training?
I am self taught on all my bardic instruments. I play a few more non-bardic instruments, but the only I play that I was professionally taught was saxophone.
5. Can you give us a run down on some of the instruments that you play?
In terms of the Bardic stuff, I can play the Lute, Lyre, Classical Guitar (along with steel string and 12 string steel string guitars), Celtic Harp, Mandolin, Bowed Psaltery, Hammered Dulcimer, Hurdy Gurdy (which I don’t believe is on a recorded release…yet), Irish Penny Whistle, Bass Recorder, Soprano Recorder, Kalimba, and Tongue Drum. As for the non-bardic instruments, I play Soprano, Alto, Tenor, and Baritone Saxophones, Banjo (ragtime jazz), fretless banjo (old time folk), Bass Guitar, -very minimal- Electric Guitar and classical organ.
6. Does being professionally trained in the saxophone make it easier for understanding and playing other instruments?
I find that it makes the wind instruments I play a lot easier as it boils down to being a saxophone with less keys on it, in a simple sense.
7. What’s the backstory on your love for the saxophone? Can you read sheet music as well? If so, do you make tabs of your own music?
When I was in 5th grade, so about 11 years ago, I ended up signing up for school band and playing saxophone. As for the sheet music, I do read sheet music, but I do not make sheet music for Baerdcyn. My recording process is very improvisational, so transcribing the pieces to sheet music would make an extra step that I don’t really feel like doing.
8. Thematically and musically, you fit right in with the Dungeon Synth community. However, would you classify it as anything else
I have always believed I have sat in the realm of Dungeon Synth. Since day one, I have called myself “Acoustic Dungeon Synth” or “Dungeon Synth Unplugged”
9. Take us back to ‘The Cave Of Time’. What was the concept behind this album and was this your first recording experience or were you involved with anything prior?
So this was my 1st official recording experience. I did however have a very short lived run of a dungeon synth -with acoustic instruments too- audio drama called “The Tale of Bjorngar” which exists in it’s unfinished state on my bandcamp. The theme came from when I recorded the cover of “Firelink Shrine”. I had realized that the reverb patch I had made, when picking up myself wetting my lips, sounded like drops of water in a cave. Thus the cave theme was born.
10. In the Bandcamp notes for ‘Heritage Of The Bay’, you dedicated the album to your Grandfather. Was he a big supporter of your musical endeavors or did he have a major influence in your life?
He has and still does in both. My Grandfather is one of the leading causes of my love for nature. Living in the coastal salt swamps of southern New Jersey, we often would, and still do, go to the bay or the meadows. As a child we would spend hours just cleaning up trash and tidying up and then followed it up with a walk through the area looking for “treasures” anything from clamshells to oyster shells, long decomposed crab shells to cool rocks, driftwood to barnacle encrusted goods. You name it, I loved it. He is a major influence on my life, and keeps me going to this day. He also always gets an artist copy of my tapes when I have one to spare. You’ll most likely read this Pop, so thanks. Thanks for everything and all that you do.
11. ‘Fantasy February’ was a unique album, in that it contained short snippets of music. We’re these ideas that were never transformed into longer tracks or were these short pieces intentional.
So Fantasy February originally started as a drawing prompt challenge. I then added the idea of making a song for each picture I drew and thus the idea was made. The minute-per-song run time was due to the fact that my main platform of interaction being instagram didn’t allow videos longer than a minute at the time.
12. Speaking of snippets, you post a lot of videos on Instagram that showcases your amazing talent. Are these videos improvised?
All of the little snippets on my Instagram are improvised, yes. Being trained in Saxophone I took a deep interest in funk and jazz improv with that, and it has carried over into my newest field of music.
13. I really loved the concept of ‘Meditations Of Forests Old’. Have you considered creating a video for the main track?
I have! The release was originally to be recorded field recording style in my local trail, and then a video of a walk through was to be made to accompany it. It never came to be, but I still have the hopes of going back and doing such a thing.
14. On one of your latest releases, ‘The White Oak’, I sense some extreme somberness with these tracks. We’re these written to embellish a particular mood or experience?
Nope. I just have a knack for that somber feel, so I roll with it.
15. Your album covers are a mix of photos and drawings/sketches. Do you do all of the artwork yourself? If so, is there a story behind the development of the various characters?
I do all the art and photography myself. The Characters on the cover of my debut was just a wizard I drew, but I -might- have plans to embellish on him in the future, and the character on the inside of the J-Card from my split with Elminster is one of my friends DnD characters. Besides that not much thought goes behind the characters.
16. Speaking of your split will Elminster, that recording was amazing! Do you have any plans for future collaborations?
Not that I know of, no.
17. Do you have a goal in mind for the amount of releases you produce each year or do you release albums once you’ve completed a concept or theme and then move on to the next?
I release as I finish. Most of my themed releases start coming to mind about halfway through the previous release, but I like to release things as soon as it’s done. I absolutely hate sitting on things longer than I have to.
18. I really appreciate this interview opportunity and I’m truly a fan of your art! Any closing comments for those that may be reading this?
Thanks for having me here and thank you all that support. It means the world to me that I can bond with so many people so far away over our love for nerd music. It truly baffles me how wonderful of a community we have, and I love you all. Thank you all for everything you’ve done. Keep trekking through that dungeon, we are all gonna make it. One day or another.
It’s a tranquil Sunday afternoon and I’ve decided to take a little time to catch up on some reading, as well as to focus on my next Dungeon Synth review. Since I love to listen to music while I read, I put on ‘The Eternal Traveler’ by Nachtjäger. It was the perfect arrangement, as the somber vibes emitted from this album played in to the harrowing novel that I was reading. This near seventy minute opus consists of eleven tracks that range in a myriad of synth varieties, albeit remaining steadfast in the realm of Dungeon Synth. The result is an amazing adventure through bleak – but alluring – domains, with minimalistic modulations and calming synth leads.
“My Watchtower In The Darkness” commences with a darkened intonation that would be fitting for a Medieval crusade. Slightly grim, yet composed in a way that exudes strife and victory. With a dirge-like cadence, this is such an emotional song to kick things off. “Crystalline Caverns” is one of my favorite songs on the album with its eerie vibe and haunting ambience that is detailed throughout. Limpid synth leads establishes a transparent connection with the layers of bleak atmospherics, causing a ritualistic effect. “Traveling On Spectral Vessels” once again changes the vibe of the album, giving off a lighthearted appeal that is enough to sooth a savage beast. Well written, there is a plethora of melodic parts and they are woven together seamlessly in an orchestral fashion. “Woodland Sanctuary” is a chilling abode with minimalistic drones and sparse synth leads. However, this approach is extremely effective, especially with creating an emotional sound of theatrical proportions. “Insights Born From Ashes” again alters the audial course and gives forth a Renaissance-era anthem with gothic undertones and slightly reverberated keys. “Lost Scripts Of Old” is an enticing piece that includes a psychedelic vibe and clean synth leads that are reminiscent of the Comfy Synth sub-genre. There are several layers of keys that create a delicate harmony and the outcome is quite mesmerizing. “Ancestral Homelands” takes us back to a darker sound, almost emitting a Black Metal-style song introduction. However, whimsical effects elicit a funereal vibe and concludes with a buildup of synth leads that has a massive sound. “Winds Tell Of A Dying Age” is constructed like a saddened symphony, with a reluctant pace and a passionate arrangement that is redolent of somber times and post-war struggles. Without a doubt, this is the most elegant track on the album and another of my personal favorites. “Astral Signs In The Northsky” is a besieging song that combines many elements of ambient music and Dungeon Synth variants. The slow climb and descent of the musical scale is fused with eccentric synth effects, producing a slightly lurid sound that ends rather abruptly. “Heralds Of The New Dawn” is a dreamy little dirge with retrospective effects and a heartfelt arrangement that combines rhythmic tones and atmospheric expression. The final track on the album is a majestic masterpiece. “Transcendental Relics” is a twenty three and a half minute long treasure that integrates soothing ambience and elongated synth tones is an epic symphonic composition. There are bits of synthwave, orchestral arrangements, and obscure melodies throughout that definitely keep this long player interesting and most of all, relevant to the theme of the rest of the album. With a substantial amount of reverb, this song sounds really thick and quixotic, demanding multiple listens with it’s addictive appeal. This is my favorite song on ‘The Eternal Traveller’ and such a beautiful way to finalize this exhilarating album.
Nachtjäger has successfully produced an amazing Dungeon Synth experience with ‘The Eternal Traveller’. With tracks that transfer the lister to majestic dimensions of castles, Medieval setting and mystical elegance, this album is a spectacle of synth amazement that resists genre tags and symbolizes musical growth in the community. If you’ve not heard this album, I highly recommend checking it out and please support the artist by downloading it from the link below.
Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!
Welcome to The Nebula Breviary! For starters, I’m not sure if this will be a continuous column or just a one-off publishing. In either case, I wanted to create something where I could spotlight an artist that is involved in a variety of projects, with a steady amount of releases. I couldn’t think of a better entity than Ithildin Tape Production. The home of Dungeon Synth maestro Elminster, Ithildin Tape Production is the mainstay of many other activities that performs in the Dungeon Synth realm and beyond. Enjoy these summary reviews of some of the many projects from Ithildin Tape Production!
1. The Owl Knight – Chamber Of The Starplotter
One thing I love about this release, is that it covers a lot of ground although being very compositionally minimalistic. This assortment of flavors included winter synth, raw Dungeon Synth and nominal chip tune without the cheerful undertones. The constant tape hiss gives off a nostalgic vibe and the flow from track-to-track is well thought out. You’ll definitely be reminiscing through retrospective Medieval content and this truly sounds like something that could be played in a deep, dingy dungeon. This one is worth checking out and adding it to your collection is a must.
Elminster, the flagship project of Ithildin Tape Production, sends a mesmerizing reminder as to why this is one of the best, traditional Dungeon Synth projects out right now. ‘Caern Mist’ is an exceptional release that features a range of dynamic orchestrations and light-hearted patterns that are enough to sooth the soul. These lengthy tunes drift in slow motion as if waiting for the seasons to change or the lapse in light as day fades to nocturnal bliss. Beautifully produced and elegantly composed, this album is a true testament of the mature path traveled for Elminster.
This is one of those recordings that you can turn on and then get lost in its vast atmospherics. A soothing ambience starts this twenty one minute long track and then it faintly reforms into a juggernaut of ritualistic beats and hypnotic loops that will keep you sedated for the duration on the track. Hints of Dungeon Synth effects are scattered throughout in a tasteful manner, as to not take away from the complete submersion of this audial spectacle. I would love to hear more from this project, especially if this is the material we have to look forward to.
‘Ire Of the Crescent Reborn’ is an interesting blend of lo-fi Black Metal and sparse Dungeon Synth undertones. Minimalistic in approach, these three tracks complete a 20 minute cycle of trance-inducing wall of noise that is more of a controlled chaos that an all out blitzkrieg. The drums shift between blast beats and industrial thumps that maintains a deafening cadence. Overall a good release but the faster parts definitely stand out and create a whirlwind of noise that’s addictive and refreshing.
Atmospheric, primitive and seductive are a few words that come to mind while spinning ‘Earth End’s Panthron’. This thirty four minute opus is a single-track, tour de force of atmospheric black metal that is a melting pot of twisted & sinister riffs, ambient textures and grainy vocals that redirects the listener to early incantations of icy cold Black Metal. Other than a quaint acoustic intro and outro, this track procures a relentless pace and delivers top quality low fidelity music. I highly recommend this recording for those that love that old school necro sound.
‘The Curtain Of Time’ exhibits two long-players of primordial Dungeon Synth with the essence of Medieval yearnings. Complete with hisses, cracks & pops of ancient recordings, the music leans on the side of melancholic compositions with somber soundscapes and a passion for mellow, emotive terrain. With both tracks extending beyond the thirteen minute mark, these depressive dirges are best heard on a dark, dreary day where emptiness is of the essence. This is a very entertaining release and amongst my favorites by Moss Keep.
‘Answering The Hidden Summons’ is like an album of distraught ellegies, assembled for those mournful souls lost in ancient battles. The keyboard work throughout this album is amazing and truly showcases a sophisticated effort from the Ithildin Tape Production camp. Complete with background hisses to supplement the overall dismal ambience, these four tracks are over before you know it, even though totaling almost thirty minutes worth of music. Save this one for a rainy day and it will fit right in.
8. Dyvyná – Within The Walls Of The Promised Kingdom
From the music to the art work, this has the Renaissance era written all over it. Crisp synth leads and dreamy effects solidifies a haunting atmosphere of bright, effervescent colors. There is a slight reverb on the instrumentation as well, emitting a powerfully thick sound that aligns perfectly with the production efforts. This Dyvyná project is definitely one to look out for and an extensive catalog of music is already building up.
Whispers Of Umbar is one of my favorite projects from Ithildin Tape Production. There is just something about that primitive sound that blurs the line between Dungeon Synth and Dark Ambient that brings joy to these ears. ‘Hail The Voidlord’ is a near twenty seven minute experience that is crafted in noise and brutal harmonics that produces visions of bleak landscapes and unfathomable bloodshed. By the time this insane track is over, you’ll need a nap and a chalice of spirits before your next listening experience.
10. Üvegszakadás – In The Ashes Of The Fallen Empire
‘In The Ashes Of The Fallen Empire’ is a mammoth of an album, especially in regards to previous releases in the Ithildin Tape Production catalog. Almost an hour and forty minutes of granular Dungeon Synth that feels like a massive compression chamber of ghastly intonations that are sequentially summoning Medieval spirits for an upcoming apparitional raid. Haunting melodies compounded by wobbly effects and battle-ready cadences, this is an imposing outing that is sure to become a fan favorite.
‘Hávamál’ is one of six Sorrow Of The Moon demo’s released this year (thus far), each containing a single track ranging from twelve to twenty minutes of playing time. This project is a firm mashup of Elminster and Üvegszakadás, with its own production value that is gothic influenced and completely introspective. What I do love is the upbeat nature of this demo and how complete it sounds, with regards to the traditional Dungeon Synth sound. This is one that I can easily play over and over again without getting tired of it.
Unlike the other Black Metal releases on Ithildin Tape Production, Maeglin infuses more distorted guitar chords and focuses on melody and song structure, instead of trance-like atmospherics. The results – at least for ‘Screams Of A Frozen Heart’ – is that it’s more focused, catchy and quite enjoyable. There are definitely some Dungeon Synth undertones, specifically in the intro and various spots throughout the release. However, they are used more of as a background discord than being the focal point of the music. This is another admirable release from ITP!
Ruins Of Xibalba, the soaring new project of Tir main man, is much more than a Dungeon Synth side project. It is an ambient adventure into outer realms, where cosmic soundscapes compliment daunting melodies and admirable song structures for an outcome of refreshing proportions. Bits of synthwave and cinematic arrangements elicit a high level release that eclipses the boundaries of many electronica genres. Mystical second album, ‘Gobeklitepe’ is an excursion through ancient mythos and compelling sacred cultures through 9 distinguished compositions that erupts in almost an hours worth of synth greatness.
Celestial album opener, “Sirius”, commences with a soothing drone that is reminiscent of gothic overtures from a classic, transcendent period. As altering tones shift like a slow flowing current of vast oceans, luminescent soundscapes and peaceful synths build a scene full of dreamy characters and endless landscapes. “Reverie” begins with a calming tone that creates a sense of relaxation and drifting timbres while utopian synth leads play somber intonations that pay homage to 80’s synthwave. Harrowing textures build into an austere arrangement that is addictive and completely mesmerizing. This is one of my favorite tracks on the album and one of the most played songs in my synth playlist. “Pedestal” is one of the shortest tracks on the album and has more of a traditional Dungeon Synth flare than the previous songs. Layers of synth leads build in crystal clear context and this beautiful little dirge is over just as it starts to create a dream state for the listener. “The Flame In The Temple” fires off on all cylinders as bombastic samples paint a picture of dread and anguish. As if a battle is looming near, this particular sound continues for a few minutes until a melodic chop begins to integrate, forming a massive sound of Medieval spirits. Alluring female vocals are added, sending this song to soaring heights and giving the listener a sensational overture of adventurous development. Additional spoken words enhance the terrain of musical endeavor, making this a supremely well rounded song. At just over ten minutes in length, “Prophesy” is the longest track on the album. Combining elements of synthwave and atmospheric effects, this song is a slow build into a captivating cinematic performance. Sonic drones and spacey keyboards fill the void as a wall of sound is created in hypnotic fashion. Representing the subtle changes that occur at dawn, “Prophesy” runs the gamut of sounds, from elongated and peaceful to melodic and grandiose. “Shaman Of The Welkin” is a change of pace, as a rhythmic drum beat leads the charge in this eerie dirge. Written in a very theatrical way, it features a gigantic orchestral sound that flows in a very emotional way. This track could very well be featured on a soundtrack of a fantasy/adventure-based movie. “Göbekli Tepe” is a whimsical outing featuring a quirky keyboard chop that plays in the background, while sounds of the orient take center stage with colorful effects and serene synth elements. “Eternal” is a daring, ambient adventure with a host of menacing soundscapes and effects. Immediately commencing with a sinister drone, mind-melding effects play sporadically, showcasing a sense of dread and endless agony. About halfway through this eight minute opus, fluid keys begin to play, opening the depth of this track like an endless black hole in deep space. It’s as if a constant storm reaping havoc on the mind and causing a depth of internal commotion. The final track on this spellbinding album is, “Reverie – Yetzer Remix Version”. For over seven minutes, we are treated to a masterful drone experience with minimalistic effects that bridge the gap of various electronic genres. With an anodyne of modulated tones, there are similarities to the original track but this remix version is a darker presentation of an already bleak performance that demands multiple listens.
This sophomore album by Ruins of Xibalba is an extremely fascinating affair and a one-of-a-kind experience. Overall, ‘Gobeklitepe’ is a consoling journey through time, space, the mind and any other relatable experience and certainly fulfills a particular destiny with thoughtful arrangements and mesmerizing cadence. Although this album was released last year, it’s still extremely relevant now and I highly recommend this for fans of ambient textures and the wonders of Medieval soundscapes. Please click on the link below to dive into this amazing adventure.
Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!
Hope all is well and please enjoy this latest round of Dungeon Synth summary reviews. I know that many of these absolutely deserve a full review. However, being a one-man shop, periodically doing these Celestial Ephemerides articles is the best way for me to keep up with the high review demand. These ten albums are all very intriguing and different in their own right, but are still firmly planted in the mysterious genre that we all know and love.
1. Countryside Views – ‘Mountain Country Memories’
This comfy synth projects takes us to far away hills and farmland settings in this tranquil synth outing. Featuring field recordings of the peaceful endeavors of country living, this album will make almost anyone feel right at home in the serene setting of all things nature. Elongated droning keyboards and crisp, enjoyable synths complete this reposeful recording and provides the feeling of refreshment and undisturbed emotions. ‘Mountain Country Memories’ is perfect for creating a placid start to your day or just having a moment of calmness.
2. Ferrydor Archive – ‘Tale Of The Foolish Dreamer’
Another multi faceted outing that moves Dungeon Synth music beyond the blurred lines of tradition and incorporates a slew of other styles and techniques. From ambience, whimsical interludes to modulations composed of chip tune technique, ‘Tale Of The Foolish Dreamer’ is an impressive album that could very well be a soundtrack for a fantasy-based story. Sometimes cheerful and sometimes somber, it is unequivocally a meticulous synth recording that has superlative elements of classical compositions.
The purveyor of multi-genre greatness, Archanist, surpass all expectations on the darkly fantastic offering, ‘Poseidonis’. From lush, textured synths to Berlin school sequences, this album runs the gamut of soulful and emotional sounds that exclude melody and magnified feelings. Each track produces a unique vibe while maintaining a constant, bleak posture. A wonderful, modern take on Dungeon Synth aesthetics while brilliantly weaving in retro synthwave, this album is an instant classic and is sure to be a fan favorite for all.
Over an hours worth of well crafted, beautifully orchestrated music, ‘A Walk Amidst The Cairns’ is an epic release that transcends any genre. Even though it’s rooted in Dungeon Synth, these soothing tracks emit an energy of classical instrumentation and exuberant scenes of endless landscapes and peaceful times. This is the perfect album to have for filling the void of background ambience, or slipping away into a meditative bliss. This is top quality synth music and is highly recommended.
‘Death Cannot Contain You’ is a hefty collection of quirky canticles with ominous undertones and endless exploration of synth madness. Watch what’s lurking around every corner, as these tunes provide the soundtrack for lurking evil and heinous ambition. Nearly forty five minutes of non-stop keyboard and percussive repose, these tracks offer an impressive melding of various instruments sounds and effects to bring forth a sense of gritty contentment. Don’t pass on this album as if offers an audial satisfaction like no other.
The Sage Of Seers hit the jackpot with this release as it’s one of the most momentous collection of tracks I’ve heard in a while. Heavy use of reverb give it a huge wall-of-sound feel and the instrumentation is performed in a flawless, mesmerizing way. Songs such as “As I Slept Upon The Ancient Barrow” and “The Path Leads To The Light” pay homage to quaint, Medieval settings, while “Under The Frozen Lake” contains Dark Ambient passages and idiosyncratic effects. Very impressive release that covers an array of genres without sounding fatigued or over played.
7. Thalmar – ‘Pried From Winter’s Frost Laden Grip’
Strident, lo-fi project from the Ithildin Tape Production camp, Thalmar epitomizes the despotic side of Dungeon Synth with epic, grinding tracks of looping discord. Creating an uneasy approach to layering with a consternation of bleak arrangements, ‘Pried From Winter’s Frost Laden Grip’ is a disturbing audial ride through chaos and the horrors of Medieval battles. Edgy production that borders on tense distortion and restive modulated impulses, this is the ultimate album for your dark inquisitions.
Fantoma Sânge takes the listener on a colossal adventure that is part whimsical and part theatrical. From big sounds to quirky arrangements, this is a twenty four minute excursion that you don’t want to miss. Jubilant drums and massive synth tones pave a path toward eccentric oblivion while the lo-fi production maintains a tradition of Medieval spirit. Don’t pass up this dainty little offering and enjoy all the turns and twists along the way.
Produced with a sense of isolation, this gritty offering presents a cloudless perspective of ancient times. Full of sorrow and melancholy, these tunes range from light-hearted dirges to jarring compositions that truly reflect life back in ancient times. With an array of synth effects and tonal changes, ‘Guardian Of The Realm’ is a complete listening experience and will surly meet all of your Dungeon Synth needs and desires.
Unofficially rooted in the aesthetics of Dungeon Synth, Disemballerina charges forth on ‘Fawn’, their latest EP of Medieval fueled orchestrations and discordant instrumentation. Nearly fifteen minutes of classical interpretations that dive into various genres of avant-garde liking. Subtle, smooth, and at times unconventional, this enticing release is worth multiple listens as well as a gander into their back catalog of impressive albums.
Since 2020, Temple Of The Fractured Light has gone above and beyond with their brand of psychedelic-infused Dungeon Synth music. Combining soothing anthems with whimsical instrumentation and vivid expression across five amazing albums, there is a sense of joyous wonder when experiencing these amazing recordings, especially since they get better and better with each new release. Last years ‘The Groovopolis’ A was met with high praise and amazement and it would be hard to imagine future recordings outshining this pentacle release. However, that has happened as ‘PSYOP Theory’ is an astounding effort into multicolored territories of consoling synth greatness. Six tracks and nearly thirty seven minutes of mind-bending synth compositions, this album contains a multitude of twists and turns and supremely weaves them into massive sounding arrangements so that audial transparency remains intact.
Tantalizing lead-off track “Circle Or Square::Black Or Grey” begins with a 70’s style synth effect, playing a catchy, melodic chop that is soon joined in unison with orchestral instrument sounds. With a very mellow vibe, this ghoulishly mixed track is a spectacular way to start off the album and sets a melancholic mood. Next, is the uptempo “Roswellian Waltzes”. A droning synth slowly crescendos just before a crashing symbol cascades into a histrionic percussive beat. Lush synth effects and mesmerizing echoing sounds maintain the psychedelic appeal while traditional Dungeon Synth melodies exude a tempting resonance. “Sacred Geometry And The Eye Of The Pyramid” is a hypnotic blend of clean synth arrangements and grandiose leads that are reminiscent of classic – and even gothic – intonations from 70’s and 80’s cinema. This is a very impressive track and one that I seem to return to the most often. Following this is a song of similar caliber, “That Which You Should Not Know”. Starting with a few single-note keys that are equally gloomy and ariose, this track maintains a serene prowess from start to finish. Even with additional synth leads that are slightly louder in the mix, this savory piece is a delicate treasure. “The Persuant Theories Of MK Ultra” is a proverbial nod to the illegal experimentation program designed by the CIA. However musically, whimsical keys and spacey synth effects are arranged in a slow looping pattern and become more mesmerizing with each passing. Sudden symbol crashes and sparse percussion add to the mystique of this track as it continues to build into a psychedelic frenzy all the while maintaining a beguiling Dungeon Synth essence. The final endeavor on the album is the alluring title track, “PSYOP Theory”. Beginning with beautifully modulated synths and charming leads, this inspiring track provides a haunting platform for a barrage of strange sounds and peculiar drum beats. I can imagine a group of travelers back in ancient times, escaping the grips of an invisible force while running through and endless, multi-colored forest. Eccentric and atypical, this is an intriguing piece and solid way to close out this magical album.
Another crowning achievement for Temple Of The Fractured Light, ‘PSYOP Theory’ is an exquisite addition to the Dungeon Synth community. From whimsical to battle-ready anthems, these tracks set a prescience for quality Dungeon Synth music while adding a stunning psychedelic aesthetic. In a category all of its own, ‘PSYOP Theory’ is an addictive listen and capable of cleansing the audial pallet for a new, fresh sound. Please click on the link below to support this exceptional artist and enjoy this amazing experience.
Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!
Music truly is a celebrated art form. When any type of craft can submerge your into another world by way of imaginative interpretations, I’d say there is a degree of success into what one has achieved. Specifically with music, it’s easy to drift into another world where uncommon realms of fascination take center stage. One such artist has has completed that feat, and then some. ‘Journeys In The New North’ by The Wanderer, checks all the blocks as a fantastical, Medieval endeavor, as it showcases a wonderful tale of adventure through a multitude of kingdom happenings. Wander with me beyond the keep as we break down each song on this meticulously crafted album.
“Dawn In The Forest” wastes no time in setting an insouciant mood, as dreamy melodies and crisp acoustic instrumentals merge with confidence and carefree essence. Birds chirping in the background, along with a few narrations gets the imagination flowing as this placid endeavor begins. “Mushroom Grove” layers whimsical refrain with soothing synth parts that open the path of adventure through a mystical forest for boundless quests. “March Of The Esserman” begins with a slow tempo before gradually expanding to a celebrated tune of gleeful energy. Fast-tempo percussive elements reinforce the amazing string effects that play in a capricious pattern of jovial proportions. “A Hillside Confrontation” brings a darker image to the album as war chants and pounding drums take center stage. Bolstering synths and haunting rhythms successfully create a battle-like anthem as the daring adventures continue. “An Unwelcome Valley Journey” commences with field recordings of horses and wagons as entrance into a new territory causes apprehension for the travelers. Alluring synths and symphonic arrangements fuse together in harmony and creates a theatrical anthem that is catchy and exciting. “The Grand City Of Dralden” showcases another dark arrangement filled with bellowing horns and powerful percussion parts. As anxiety fills the air, various sections in the track match the imaginative scenario with captivating leads and courageous horn effects. “The Loss Of Hope” begins with a bleak ambience and tribal-like percussive beats. When the instrumentation kicks in, it becomes apparent that this somber dirge is meant to represent some sort of loss. The flute sounds take center stage in this track with austere impulses of dread. By the end of the track, the music slowly fades into a hollow drone. “Alone And Forlorn” is a subdued offering that features a gloomy piano ballad that is soft, yet full of funereal characteristics. This is a masterful composition and one of my favorite songs on the album with a melody that won’t soon be forgotten. “The Escape” is a short track that wonderfully combines several stringed instruments that play a mesmerizing tune of various tempos and emotional stances. As the title suggests, it represents a break from captivity and a quick flee to the next daring quest. “Dance Of The Aldra” is another standout track as all of the instruments play in unison to a daring drum beat. Flute leads create a bold statement of victory and long-overdue celebration as the travelers dance to their freedom. “Moonlight Majesty” presents another mid-tempo dirge with frigid synth leads and layers of harmonious instrumentation that produces a hypnotic effect with its wall of sound production efforts and beguiling compositional strength. The final track on this audacious album is “Unknown Realms”. At just over seven minutes, it’s the longest song on the album. Combining the strengths of previous tracks it’s the perfect way to end this album. Full of melody, ambience, soundscapes and eccentric synths, you’ll not want this one to end, as it also completes the journey into the new north, where travelers hope to settle and create a easygoing life for those that venture beyond its keep.
The Wanderer has done an amazing job at creating the perfect soundtrack for an untold, transcendent adventure. Each track is different, yet flows transparently to the next with amazing tranquility. This album could truly be a soundtrack for a future fantasy film set back in the Medieval days. It’s so easy to imagine what all could happen inside of this forty six minute offering. ‘Journeys In The New North’ is a one of a kind album and I can’t recommend this enough for those that appreciate daring Dungeon Synth exploits. Please click the link below to download this incredible album!
Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!
If you’ve been a fan of Dungeon Synth for longer than two minutes, then you should be familiar with the name Erang and all of the glory that has been brought to the genre by way of an extended catalog of influential albums. With a successful foray into the many folds of synth music, there is no doubt that Erang is a progenitor of a unique style of Medieval summonings. Voyaging beyond the confines of Dungeon Synth, Erang is heralded for creating many exclusive endeavors that bridge the gap between Dungeon Synth, Synthwave and Black Metal – just to name a few. Celebrating the 10th anniversary of the release of ‘Tome I’, the artist behind this crowning craft has allowed me to borrow some of his time to discuss his music, achievements and emotional declarations behind all things Erang.
1. Thank you very much for taking the time for this interview and congratulations on 10 majestic years of Dungeon Synth ventures. Take us back to 2012 and tell us at what point Dungeon Synth became a creative focus.
Thanks for your words, glad to be there. Well, to tell you when DS became a creative focus we need to go back a bit further, in 2011, when I stumbled upon the Dungeon Synth blog. Prior to that I discovered some Ambient tracks from Black Metal project in the documentary « Until the Light Takes Us ». I fell immediatly in love with that sound. It was like if I found what I was looking for and I immediately stopped it to check online if I found similar stuffs. That’s how I ended up on the DS blog and the work of Lord Lovidicus… and it all clicked together: there was no turning back after that. Dungeon Synth til I die.
2. The Dungeon Synth genre didn’t flourish back then as it does today, so what were some of the processes for which you promoted your craft?
“Didn’t flourish” is a light word, as it was pretty desert in 2011 and 2012. I’m not sure the word “promote” fit well because of that. There was no facebook group, no board, no youtube channel, so I just posted in some Ambient or Metal group, or in the forum of Encyclopedia Metallum. There might still be some old posts from me from 2012… it was mostly on forums : RPG forums or Fantasy forums.
3. Erang truly transcends the Dungeon Synth genre by composing in other realms of synth music. Has this always been a vision for this project?
The only vision behind Erang is to stay true to my Imagination and inner feelings, no matter the musical genre. Of course Dungeon Synth is at the core of it because of the involvement I had in the revival of the genre back then. But I’ll never be afraid to mix it with many other influences or thematic if I feel it in my guts. Like with my prior album PRISONNIER DU RÊVE : I knew the theme was too french and too obscure for a broader audience but, at that time, I needed to do it because it had a really personal resonnance toward my past and childhood.
4. Who are some of your greatest influences for creating this kind of music.
That is absolutely impossible to say because it changes on each album and even on each track… It is always a very large mix of so many things. And lots of them are not musical but come from movies, books, cartoons… that and, of course, my own personal history and things from my past…
5. Did you have a musical career prior to forming Erang back in 2011/2012?
I don’t (and never will) consider what I’m doing as a “career”. I make music because I have to, I need to, it’s like the air I breathe. Without it I would be dead and empty, I have no choice.
I’ve been making music since I was 14, I guess, but just for myself. My first real musical connection with the outside world was with my first Erang album, Tome I, in 2012.
6. Let’s talk about ‘Tome I’ (2012). Was there an overall concept for this album? To me the music flows just like a storyline or script for a movie.
The concept was simple : I told myself to stop trying to make art or something modern or innovative or I don’t know what… I told myself : make music like you used to draw when you were a little child. Without thinking about the outside world, just alone in your bedroom, lying on the ground with papers and markers. Without thinking about technics or what is right or wrong… Just make something straight from you heart. I thought about movies or books that were important for me as a Kid and named the songs after that… And after that first album, I understood who I was for the first time and things have never been the same since then.
7. That album has truly stood the test of time, as those songs still sound really fresh. What made the songs on that album so resilient in a genre that has sprouted in a vast way in the past few years.
Thanks ! Well, that’s hard for me to say… I guess the most well placed to say it (if it’s true) are the people who enjoy it.
8. ‘Tome II’ as also released in 2012 but there is a noticeable growth in song compositions. What influenced this growth spurt in such a short amount of time?
From my point of view, the first 4 albums are really linked together and from the same vein, hence the « Tomes » names. So I wouldnt say there are a real difference in compositions or sounds from my point of view. It was really me toying with the Dungeon Synth basics… They really are a whole together. Things started to change with the album just after these : « Another World, Another Time ». That’s why I named it like the first track of « Tome I ». Because it was a rebirth for me. If you noticed, that’s why the 4 albums just after the fourth first Tomes, are all named after a track from the respective previous Tomes.
9. One of my favorite albums by Erang is ‘Within The Land Of My Imagination I Am The Only God’ (2014). This album was so full of Medieval substance that in my opinion, it’s a true structure of the Dungeon Synth genre. In your opinion, what makes this album so audibly different?
I guess this one is an important one in my discography. I think that, mainly, it was different in scope : 17 tracks was a big thing to put out for me back then. And the title of the album is also an important and strong statement for me. When I knew it was named like this, I remember thinking that I really had to put out something worth this title. I hope I didn’t failed. Because that sentence ‘Within The Land Of My Imagination I Am The Only God’ is really something at the ground of my personality and the world of Erang.
10. On 2016’s ‘Anti Future’, you ventured into the synthwave/darkwave and the results were a highly addictive album. What was the mindset behind its creative concept? Do you plan to produce anymore albums of this nature?
Well I already produce SONGS of SCARS which was the direct inheritor of ANTI FUTURE. I really wanted to make something in that vein for a long time. Being a child from the late 80’s, the synth sounds from that era were really a cradle for me. In advertising, in TV shows, etc. it was full of synth everywhere because back then that sound sounded « new » and was also way cheaper to produce rather than a full orchestra (mainly for TV or B movies). I was also a huge fan of John Carpenter and, if you listen closely to this album, it is not synthwave like the ones you find the most (which is more « outrun » in the vein of the movie « Drive » you know) my two albums are really more in the vein of horror b movies or science fiction movies from back then, Stephen King’s TV adaptations.
So as I said, I was really into that sound for a long time and what achieved to give me the impulse of doing it was the first album of new material from John Carpenter : Lost Tales. I loved this album and decided to give it a shot myself.
11. Now let’s fast forward to 2020’s ‘Imagination Never Fails’. Again, this was a multi-genre masterpiece that flows like a soundtrack or a large-scale production. What was it like to create this magnum opus? How do you pull off these tracks in a live setting?
Thanks again for such compliment, I’m humbled. Concerning live, I’ll never play live. Or maybe if I do it one day it would be under very specific circumstances which I still can’t figure now. Because it could kill a part of the mystery that is, to me, the most important thing. I once read a reply from Summoning in that same vein… so, no live setting. And concerning the creation of this album it was a pure bliss. More than one time you struggle while creating an album. You’re full of doubt, hesitation, etc. but not this time. Mainly because it was my ‘comeback’ after pretty much 2 years of silence. So I was really inspired and, when I announced it I had such an incredible and overwhelming feedback from the community that it get my heart pumping to deliver it.
12. Recently you release 5 amazing EP’s. All have different sounds and a variety of focuses. How did this endeavor come about and how did you come up with the entity known as The Land of 5 Seasons?
The creation of the Land of the Five Seasons was an organic process if I could say so… it slowly came together albums after albums and when I drew the map of it. For this specific set of 5 EP’s I really wanted to make something different because of the 10 years anniversary. But on the other hand, as it was a marking point anniversary, I also wanted to make something as an ode to the genre you know? That’s how I ended up with that concept of mixing my own Land of the Five Seasons with 5 different (and even more) flavors of Dungeon Synth : from old school to ambient, from cinematic to new age, with also the black metal influences, etc.
13. What are some of your favorite Erang albums and why?
That’s truly impossible for me to say. Each album is a snapshot from a moment of my life and means something really strong and personal to me.
14. What is your opinion on the current state of Dungeon Synth and the sub-genres that have spawned from it over the past few years.
I find it very alive, diverse and full of creativity. So many great things to discover and navigate through. Very inspiring !
15. Who are some of the modern Dungeon Synth artists that you admire on a creative level?
There are too many to names… I will start with some french acts if you don’t mind : Silu de Mordomoire, Elixir, Arathgoth, Arsule, Weress or Descort… Also some already famous names but there are well known for a reason : Fogweaver, Hole Dweller, all the works by Adam Matlock… Recently I’ve been amazed by ‘A Lantern Swathed’ by Erreth-Akbe : a great piece of art. Also I really enjoyed ‘Arda’s Herbarium Vol. 1’ by Ithildin, very diverse and charming… Really, people just have to browse through bandcamp to discover hidden treasures.
16. What are your musical plans for the remainder of 2022?
Many things and surprises will come in 2022. Some great physical releases with awesome labels but also few unexpected things here and there… you’ll see !
17. I really appreciate you taking the time to answer a few questions. Do you have any final words for those that may be reading this interview?
Thanks to you for the interview! I just want to say that without Erang, I wouldn’t be there… life wouldn’t have the same meaning to me… and if the Kingdom of Erang is there, it is also because of all the people who follow and support this fragile weird and obscure music since ten years now… Thanks to all of them for what they are doing, it means more than they imagine.
Dungeon Synth & Dark Ambient Reviews!! 