One of my favorite exploits of 2025 was the DIY Sessions presented by the UK based Dungeon Synth Label, Sokol Keep. These session afforded various artists to record tracks (or albums) in an authentic, old-school format so that credible material could be delivered with true, Medieval intentions. One project that contributed to these sessions (that immediately grabbed my attention) was Blades Of Folmär. Hailing from Devon, UK, Blades Of Folmär combines vintage recording aesthetics with an elemental Dungeon Synth essence that summons the true nature of the ancient spirit. Assembling a pair of releases that pay homage to the immutable past of bloodstained keeps, grueling battles, daunting castles and enchanted forests, they provide an authentic, audial journey of the dark ages. ‘Eternal Dungeon I & II’ betoken a glorious quest for honor, crimson crusades and an age of dark exploration.
Eternal Dungeon (Feb 2025)
Eternal Dungeon commences with the abbreviated intro, “Quest Of Heroes”. Immediately showcasing a muddled, lo-fi production, with slightly reverberated synths, a particular homage is paid to the ways of old, crafted with Medieval integrity. “The Dungeon Goes Ever On” continues the ancient cadence and adds a spectrum of melody that exudes a tranquil precedence, combined with gloomy synth tones and haunting atmospherics. “Beware, The Servants Of Morcar” clocks in at almost eight and a half minutes and consistently produces a ghostly sound throughout as the darkened synths parallel ambient textures that are both pastoral and somber. Occasional percussive elements are inserted throughout that contribute in a boastful way. The final track on this offering is “Star Of The West”, a lighthearted anthem that is a fitting bookend to the album opener. This is exactly the sound I imagine could be played in an isolated dungeon, deep below the surface of a far away kingdom.
Continuing where the first album left off, “Eternal Dungeon II” produces that classic Dungeon Synth experience across four amazing tracks. Beginning with “The Moonlit Portcullis”, forlorn modulation integrate with a murky production for a pristine, authentic sound. The looming melody that is present throughout creates an alluring atmosphere that is extremely enjoyable to listen to. “To Dine In Carrion Halls” includes a thumping drum beat, regulating a haunting cadence that is reminiscent of a funeral procession, sauntering down muddy trails in the dead of night. “Gurrok Cairn” is a seven and a half minute darkened offering that combines ambient structures with elongated synth tones, evoking a daunting tale of bloodshed, damned battlefields and a triumphant return to a victorious kingdom exclusively seen through a black and white lens. The final track, “Glademist”, is a brief oblation that perfectly closes the album in true Dungeon fashion. Brief and to the point, nostalgic synth chops are a true testament to the authentic sounds of this canticle seemingly purloined from the Middle Ages. The gritty production is a convincing attestation of what Blades Of Folmär set out to achieve, to present true Dungeon Synth songs with a classic embrace.
Blades Of Folmär has taken complete advantage of the Sokol Keep DIY Sessions by releasing two amazing Dungeon Synth albums, ‘Eternal Dungeon’ and ‘Eternal Dungeon II’. Even though each album forges its own path to age-old glory, together they present an audial unification that pays homage to everything we love about the Medieval dynamism. From dirge-like cadences to battle ready synth intonations, these albums are a perfect precedent of old-school dungeon synth. Not only are these two albums amazing but all of the other DIY Sessions offerings are worthy contributions to the Dungeon Synth genre. Don’t pass on these albums and prepare for an ancient battle while hearkening on the prodigious anthems contained within.
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It’s that time of year again, our favorite holiday is upon us. Of course, I’m talking about Halloween, and The Dungeon In Deep Space is back for the sixth installment of the All Hallows’ Eve Extravaganza. In a continued effort to bring you a few summary reviews of this years’ audial frights, I have selected five new releases that will do Halloween proud. Each of these recordings would make the perfect companion to you Hallows’ Eve scares. I hope you will enjoy these as much as I have and please support these amazing artists, as they continue to bring the best in dark music excellence!
1. Halloween Scene – The Last Trick Or Treater
Halloween Scene, the spooky, seasonal side project of Guild of Lore, is back for a second nightmarish installment of creepy soundscapes. Playing more like a soundtrack to a 80’s horror flick, ‘The Last Trick Or Treater’ comes packed with evil haunts and retrospective modulations. Each track precisely elicits a sense of fear as an anomalous entity stalks trick o’ treaters on All Hallows Eve. Some of the more terrifying tracks include, “Bad Things Between Backyards”, “Something In The Mist On Reaper Road” and “This Long And Frightful Night”. At nearly one hour in length, this is the perfect companion piece to your ghoulish encounters on Halloween. My favorite song on the album has to be “Show’s Over”. With its retro electronica vibe and tasteful usage of Berlin School sequences, it screams 80’s B-movie horror. Halloween Scene certainly knows how to create an audial encounter for the most menacing nights of the year and I’m here for it.
Just in time for Halloween, the ever-so-reliable (and consistent) force of nature known as Erythrite Throne has unleashed ‘Strigoic Myths’, a five track excursion through the darkest points of your imagination. From the seasonally-themed logo to the solid color album backdrop, you know the darkened season is upon us when Erythrite Throne graces us with this combo. As for the music, it’s everything that you’d expect from one of the Godfathers of Dungeon Synth; desolate synths, impending beats and a slab of melancholic darkness that would prepare even the ghoulish of entities for All Hallows’ Eve. The best example of this comes by way of the second track, “Tenebrous Whispers From The Night’s Fog”. Commencing with a looping, mesmerizing beat, Medieval incantations soon follow by way of haunting, modulated synths. As the song intensifies, periods of melodic wonder increases, thwarting this track into the catacombs of great bleakness. We can always count on Erythrite Throne to deliver the goods and this album is a stark example as such.
Mombi Yuleman, the distributor of all things dark electronica is back with a collection of Dark Ambient soundscapes, previously released on various collaboration albums. ‘Tales Of Lost Transmissions’ is the first of a two part series that focuses on the assemblage of early recordings and rarities and it’s just in time for Halloween. Producing a Sonic range of material from Dark Ambient to Psytrance and Synthwave, this material of a culmination of Dark Ambient tracks that emit an eerie resonance while paying homage to 80’s horror soundtracks. So far, my favorite track is “Ominous Hazards” with its completely retro vibe, thunderous synth pad arrangement and electrifying Berlin School sequences. Another favorite is “The Madness Of Alhazred”, as it absorbs classic B-horror movies aesthetics and adds a modern Dark Ambient twist – complete with haunting vocal samples and spooky narrations. This would be a great album to play loudly while handing out candy to the costumed humanoids. When you’re done playing this one, queue up the second album in this series, ‘Tales From A Darkened Corridor’, you won’t regret it.
Hours Of Worship is back with their multi-genre offering, ‘Death & Dying Vol. II’. Aggregating facets of Dungeon Synth, Gothic and Darkwave, Hours of Worship is making a bold audial statement that is equally fascinating as it is addicting. With a dreamy production and retrospective sound mix, the six tracks contained within compels the listener through a surreal journey of darkness and dismal proportions. Most of the tracks are hypnotically lethargic, like a slow emotional decay while offering a few upbeat songs that continue to be melancholic at the same time. Standout tracks include “Derelict And Ruined” and “Opaline Ashes”, while “Shattered In Aspect” is reminiscent of a track that could have been a part of The Silence Of The Lambs soundtrack – which isn’t a bad thing because that’s one of the greatest psychological thrillers of all time. In summary, I can’t recommend this masterpiece enough. If you love the musical aesthetics of the aforementioned genres, then definitely do not pass on this release.
Born From Pain is an unusual entity that resides on the outside of a variety of dark electronic genres. The project also has the dismal vision of rescoring classic film score to a more modern, gloomy output. This Halloween we are presented with a Dark Ambient rendering of the 1932 film, Vampyr. Consisting of four, foreboding modulations that intertwine possessed tape loops and ghastly soundscapes, this is a droning experience that exhibits an angst filled void where there is no escape. The final track on the album, ‘Here, In Seclusion’ is a near fifty three minute long journey through the macabre, where desolate ruins provide the abhorrent landscape for a one-way trip to hell. The lo-fi production also adds a layer of dread, enhancing the repulsive nature of this audial dive to deep, distant voids. Born From Pain never fails to deliver and the projects vision of extreme musical obscurity makes this a promising album.
Over the past few years, Arbadax has become one of my favorite Dungeon Synth artist. With each release bringing an amazing venture down a dark realm filled with fantasy-based themes and intriguing musical intonations, Arbadax excels at releasing consistent music that is bound to connect the listener to a fascinating, Medieval world. I recently had an opportunity to talk to Arbadax about his wonderful discography of Dungeon Synth greatness, where the inspiration came from and the direction for future releases. Please enjoy this interview with the prodigious Arbadax!
1. Thank you very much for taking the time to answer a few questions about the Arbadax Dungeon Synth project. How did you first get introduced to dungeon synth as a genre?
Thank you and the friends at The Dungeon in Deep Space for the interest you’ve shown! For years, I was unaware of the existence of the genre itself, even though I knew about artists more closely tied to the metal scene, like Burzum, Mortiis, Summoning… The real discovery happened during the COVID lockdown, when I was stuck at home due to restrictions, spending time playing music, listening to music, and working on building my small home studio. The memories are already blurred by the passage of time, but the first DS record that struck me straight to the heart was Hole Dweller’s ‘Flies the Coop’. From there, a whole new world opened up for me to explore. At the same time, I also regretted not discovering this genre earlier, because who knows, maybe I would have started making this music much sooner… But perhaps the time wasn’t right yet.
2. Do you see Dungeon Synth as a subgenre of ambient, black metal, or something else?
More or less, we all know how it originated; its roots run deep in black metal, but after so many years, I think we need to give DS the proper dignity it deserves, as far as I’m concerned, it’s a genre in its own right. What I found when I approached this world was a mature and grown-up scene, still confined to the underground and the limbo of amateur musicians, but in my view, it’s absolutely right to define it as its own genre.
3. Who are some of your musical influences, both within and outside of Dungeon Synth?
I was born a metalhead, and I still am one. I’m currently a bassist in a band called Heavenfall, and I used to play in an epic metal band, Holy Martyr, so my main influences are the entire hard ‘n’ heavy world, mostly classic, hard rock, epic metal, thrash metal, and to a lesser extent, other metal genres as well. To complement that, I’d also mention classic rock from the last century. I’ve also always listened to instrumental compositions, especially soundtracks, classical music, and some of the most famous musicians who made electronic music popular, like Jarre, Vangelis, and I’d also like to mention the Italian Franco Battiato, who experimented with synths in the early 70s. Recently, with my interest in DS, I’ve also gotten into other electronic genres, like ambient or synthwave, for example. On my YouTube channel, I’ve published a few synthwave-oriented songs, which I usually do between albums to take a break from the DS atmosphere and reset my mind.
4. When it comes to thematic expression, Arbadax has released some amazing albums in the realm of Medieval fantasy. What role does fantasy, mythology, or history play in your music, if any?
Clearly, my love for fantasy is evident in my storytelling, which focuses on the character of ‘Arbadax.’ More generally, I’ve always been passionate about the fantastic in a broad sense, and also about the mysterious. I’m deeply fascinated by the world of the occult, even though this fascination is in constant conflict with my rational side. This attraction to the fantastic and the mysterious is a very human, primal component, but then there’s the adult me, an engineer no less, with years of scientific studies behind me, who says, ‘Hey, you know all of this is nonsense, right?’ This also ties into my passion for ancient and modern history, its mysteries, its conspiracies, its horrors… the epic and the mythology. It’s all connected. In the end, fantasy is nothing more than the story of humans living in a world truly shaped by their mythology, beliefs, and folklore. I’m fascinated by the bestiaries of various cultures, and sometimes I’m amazed by how imagination can conjure up such incredible creatures with extraordinary powers and strength. It would be fun to live in such a world, and that’s why I enjoy talking about it. When I created the two more medieval-oriented albums, I was undecided about starting a separate project under a different name. But in the end, I continued as Arbadax and incorporated “The Bard’s Tales” and “The First King” into Arbadax’s storytelling, as if they were tales of the mythology and past history of the island of Ankmar.
5. What do you think makes Dungeon Synth so unique compared to other ambient or electronic genres?
What sets it apart is a raw sadness and a gritty darkness that I don’t see in other genres. For example, ambient music is relaxing, and synthwave music is usually cheerful, with positive or ‘comfy’ vibes, as they say nowadays. But when you listen to DS music, you’re catapulted into a sonic dimension that takes you to other levels. Even comfy synth, which might not have that sad and dark note, transports you into a world where the musician wants to guide you (and I could mention Hole Dweller again in this regard). Perhaps this is also a characteristic of the genre: the listener lets the musician guide them into their world. A song title or even a brief bit of storytelling is enough to make it work. This is obviously what I’m trying to do as well.
6. Dungeon Synth often evokes the essence of nostalgia. How do you capture that feeling in your music?
Musically speaking, I like to write pieces that sound sad, and to do this, I usually rely on minor modes, technically speaking. However, it doesn’t mean that if I write melancholic-sounding pieces, I’m feeling that way myself. In fact, sometimes it’s the opposite—the music, as I write it, brings out certain emotions. It’s an equal exchange with what I’m creating.
7. How important was it to capture that on your first album, ‘A Sad Story Of Blood And Love’?
This was the first album; we were in the middle of the COVID era, locked inside for months, and in the album, I conveyed this sense of sadness, abandonment, and melancholy. The compositions were very minimalist and stripped down, and it naturally made me think of something terrible like war and a story of passion ending in blood. Then maybe there’s something personal as well, who knows?
8. Do you prefer your tracks to have more of a lo-fi or raw sound, or do you focus on more polished production?
So, this also seems to be quite a debate among DS fans, right? Probably, if I could afford it, I would go to a studio to work with a sound engineer or producer to get the best out of the tracks. But perhaps, at that point, it wouldn’t be DS anymore; it would become something else, because everything would be wrapped in a nice layer of sound, with bright dynamics and clear, well-balanced tones. I try to do the same on my own, on a smaller scale, often without consulting anyone. What comes out in the end is 100% mine, but I’d definitely be very curious to hear one of my albums professionally produced at a high level.
9. Your third album, ‘The Land Of Ankmar’ shows an incline in musical growth. Do you feel as if your comfort level in the genre was getting better at this point?
Let’s say I really started to enjoy myself. There was a period when I spent almost all of my free time writing music, recording, and jotting down ideas. I still have about a hundred riffs recorded on classical guitar, waiting to be developed. During that time, I also invented an alphabet that would be the alphabet of Ankmar and laid the foundations for its language. I was completely immersed in inspiration from all angles. It was also a period when I started studying piano and became interested in the basics of mastering and mixing techniques, but I eventually stopped due to lack of time. This project also marked a break from my previous work because it doesn’t represent the typical ‘journey’ theme of fantasy stories, but simply a description of my imaginary land, Ankmar, which is partially connected to Sardinia, where I was born. For example, ‘The Ruins of Karahal’ refers to the ancient name of the city of Cagliari, which was called Karalis in Latin. Or the sound of the sea in ‘The Grand Sea’ was recorded on a beach in Sardinia.
10. Your seventh album, ‘Lost’ is one of my favorites by you. The music is as relaxing as it is imposing. How do you balance simplicity and complexity in your music?
It is said that life requires balance, but man is not perfect and is in an eternal struggle to find balance in everything he does, in every emotion, and in every relationship. Sometimes genius is found in a person’s imbalance and madness, but I don’t think that’s the case for me because I’m a fairly rational person. Therefore, in my music, balance is still given by the sensations I feel. Often, I find myself adding instruments and overlapping harmonic lines in a compositional high, but then when I listen back the next day, I start to remove things, bringing the piece back to its simplicity and keeping only the parts that still sound good to me and that don’t alter the essence of the piece.Or it can just as easily happen the opposite, meaning that a piece that started off simple can then develop in an incredible and unexpected way. You know, sometimes when I listen back to my old tracks, I find that I absolutely don’t remember how I came to develop them in that specific way.
11. Do you incorporate live instruments into your recordings, or is it all digital/synth-based?
First of all, you should know that I’m not very good at playing the piano or keyboard. I usually write pieces on guitar or bass, then I take everything into MIDI and from there, I develop the piece by adding and removing until I feel it’s complete. So, it was inevitable that sooner or later, I would reach the point of adding something different, especially because I often feel the need to find new sounds. In ‘The Land of Ankmar,’ for the first time, I used an acoustic guitar, while in ‘Winds of War,’ I recorded bass and electric guitar with my Fender Precision and an Ibanez guitar. At that time, I was in an ‘epic metal’ phase; if I remember correctly, the war in Ukraine had just broken out or was about to break out, and I was angry. Subsequently, in my other works, I sporadically used the acoustic guitar, especially in the two projects with medieval sounds. I always think that sooner or later, I’ll make another album in the style of ‘Winds of War,’ with bass and electric guitar, because I had a lot of fun making it!
12. On your eighth album, ‘The First King’, there is again, another shift in musical focus as the tracks seem more melancholic yet more developed and powerful. How has your sound evolved since you first recording?
I had a lot of fun creating many harmonic lines on this album. There are some long and intricate pieces, with key changes and varying themes. This is definitely something I didn’t do in my earlier works, which may have been more repetitive, but you know, it also depends a lot on the mood and the types of sounds I use. With medieval orchestrations, there’s actually a lot of space in the mix to create many harmonies, while using fat pads like in ‘LOST,’ which occupy a lot of space in the frequencies, there’s much less room to develop harmonies. In any case, I like to frequently change the type of sound and song development, as I did with the latest album.
13. Your latest album, ‘The Necromancer’s Swamp’, is a short collection of fun tunes that are very eclectic. What was your vision with this album?
Originally, the tracks were created with the intention of doing something different from everything I had done before, and I started working on this album convinced that I would integrate it into the storytelling of the island of Ankmar. Then I was contacted by the label HDK to write five pieces to be published on a cassette alongside three other musicians, and so the composition took a different turn to follow the storytelling of the short narrative provided by HDK. I slightly modified the pieces by adding sounds and noises and replacing the percussion with pads that, in my opinion, give that eclectic touch you mentioned. Those tracks seemed perfect to me for telling a story of black magic and necromancy.
14. Do you see Dungeon Synth as a form of escapism for yourself? What do you hope that your listeners get out of your music?
Certainly, yes! I think all forms of art are like that. It starts with passion, and then when you delve into the art, you discover that it can also be a great way to unload your problems or transfer them into it. In a broader sense, there’s also the fulfillment that creating something of your own gives you, like when I made the physical copies of the cassettes, taking care of the artwork, the recording, and the preparation of the cassettes myself.
15. Can we expect any new releases from Arbadax this year? Do you plan to incorporate exciting new directions or experiments?
At the moment, I’m working again for HDK, this time for a full release, although I’m not sure when it will be ready, because in the coming months, I will also need to enter the studio with my band. Recently, I have actually slowed down my production pace, so we’ll see. I have a lot of ideas in my head that I would like to explore sooner or later… I’m always thinking about starting a project exclusively focused on historical themes, as well as the science fiction that I love so much, with sounds that are, how should I say, more ‘spatial’? Finally, I’m also considering making an album completely based on guitar and bass… We’ll see; at the moment, I’m not sure what I’ll do first or if I’ll be able to do everything.
16. I really appreciate you taking the time to answer these questions. Do you have any final thoughts for those that will be reading this?
I hope I haven’t bored you too much! I invite those who don’t know me to check out some of my work on my channels. Arbadax awaits you in the city of Ankmar, in the land of Ankmar, to share a drink together at the Boar’s Inn. But send a messenger first, because I might be too busy studying a new spell, and I would be sad not to meet you! Remember to support music and your favorite artists, stay in peace but fight for your well-being.
In 2021, I reviewed the amazing album by Logan Mccurter called, ‘Primitive Baptist & The Oldest Time Traveler In The World’ and what I discovered was an alluring blend of Dungeon Synth and Ambient music. This album brought a fresh prospective to both synth-based genres and I was eager to hear more. Fast forward to 2024, and we have the same compelling music but now under the moniker, Wøzard. Curious to find out more about this artist and the motivation behind the music, I reached out to Wøzard for an interview opportunity, which was quickly obliged. What I found was a down-to-earth musician with a solid approach to songwriting, with quite the comical side to boot. I hope you enjoy this interview as much as I had putting it together.
1. In really appreciate your time in order to discuss your music projects. Before we get into the meat of things, tell us what music means to you and how it led to you commencing your own musical endeavors.
Howdy! And thank you for having me. This is SUCH a heavy question to start with haha but I think its an important foundation to any artist. I was born into a very musically inclined family.
MY grandfather, aka: “The last western hero” and my grandmother formed a Country Western Christian Gospel group called “The Cox Family” (not that one…the other one) in the 80’s, which also featured my Mother and my Aunt. They performed all over America and had a residency show in Branson Missouri until the late 90s. All this to say when I was born in 1999 I was surrounded by musicians.
HOWEVER~ When my mother got pregnant at age 16/17. While I was incubating, they used to play pink Floyd to me through her stomach with headphones. I was literally raised in a sonic WOMB.
And I think this parts important. My father and his side of the family, are all bikers, my dads a metal head / tattoo artist. And I was always drawn to the alt life style artistically and sonically. So when I picked up guitar at age 5 or whatever I wasn’t banging out christ tunes, I was playing whatever alternative underground bla bla I could get my hands on. My inspirations range from the likes of Daniel Johnston, Mort Garson, Neutral Milk hotel, Bruce Haack, The Protomen, My Bloody Valentine, Sleep, Yob, Mastadon, Brian Eno, Hiroshi Yoshimura, Asobi Seksu, and MANY many other artist that I wear close to my chest.
For me, Making music is as automatic as breathing, it’s ingrained in the pulse of our hearts. Music as we refer to it is the one thing that truly binds us as a species. Humanity from dust till dust, separated by time and space, has and will have a musical culture that transcends language. Humans are many things, granted. But we are ALL musicians. We are all songbirds. We are all storytellers.
Ok…ill get off this mighty tall soapbox now.
2. In 2019, you started releasing albums under your own name but then shifted everything under the Wøzard moniker. What brought about this change?
No I didn’t, who told you that? You’re lying. Its ALWAYS been Wøzard…
No you’re totally right I did go by my name for a while. To be honest I never intended to become an electronic musician. Or even a dungeon synth artist (if you can even call me that) My earliest work (which I’ve scrubbed from existence) was an amateurish acoustic singer songwriter EP. That was mostly inspired by my being a teenage dirtbag, my love of Daniel Johnston, and an unhealthy serving of Midwest-ish pop punk.
my “Debut” EP from 2019 titled “may I admire you again someday” (a reference to pretty in pink) was a synth pop concept about an astronaut who is selected for an experimental program called “MIAYAS” which will launch him into the mind of another person to discover the truth therein, but before his mission can even begin, his ship crashes into the lucid mud. Now lost and trapped inside this OTHER mind, slowly losing all sense of self as he experiences the subconscious. Until he reaches the bridge of memories. And finds out he’s not trapped in someone else’s mind. He is trapped inside his own. And upon this realization. He wakes up, in the very chair that sent him on this adventure. But its not the end…its the beginning. An ouroboros loop, doomed to wake up in the very chair that stars this mission and to be launched right back in… it’s also a live theatrical stage production. Which you can hear in the album with people clapping, the curtains raising, footsteps on the hard wood floor of the stage. And the track intermission (Which is a play on Enter, Mission)
With all that in mind. I decided in 2020 after becoming enamored by dungeon synth to try my hand at that. And once I had a few projects under my belt. I realized that my name was weirdly to broad. I found the electronic ambient hill I wanted to die on. But felt my government name was not the energy for that world. So I changed it to Wøzard!
Wøzard by the way is a reference to the Mort Garson record “The Wozard of Iz” which is a fantastically cynical retelling of the wizard of oz set in 1960’s hippie culture. And the slash in the ø comes from my name. Løgan!
I feel like my brand is sorta obtuse, mystical, otherworldly, contemplative, and wonky. So I felt Wøzard fit that bill.
3. Wøzard is not your typical Dungeon Synth project, as it incorporates so many other aesthetics of electronic music. Is this what you set out to achieve from the very beginning?
The idea of “what even is the music I make” has been floating around for a while I think. While my works are not deeply known within the broader scene. I have had many refer to it as “progressive dungeon synth” which is flattering! I never meant to progress anything. In fact, many of my go-to inspirations for where I achieve my sound is Moog music from the 60’s, 70’s and 80’s. With a healthy does of ambient electronic scenes like lowercase, Japanese ambient synth form the early 80s, some Berlin school, and THEN dungeon synth, also the word “achieve” is funny here because I don’t know if I truly ever meant to do anything of the sorts. My LP “primitive baptist” was my honest attempt at making a dungeon synth record. And it SUPER wasn’t a dungeon synth record. Its something totally and tonally other. But It did accidentally give me an identity. I’m just glad people like my work.
4. In 2020 you released the ‘Primitive Baptist & The Oldest Time Traveler In The World’. First of all, how did you come up with that amazing title?
“Primitive Baptist & The Oldest Time Traveler in the World” was my attempt at giving the listener as many clues as possible to the plot of that record. Which like…duh? But also the plot of this story is VERY convoluted. Which I will get into…if the reader will simply skip to the next question…did…did they skip to the next question?
Why are you still here? The cool juicy plot stuff is on the next question…oh you’re just stubborn is it. I see… There is nothing else to see here reader. I promise, you can move on.
Ok fine. You WANT to stay here and read THIS questions answer. Fine… If you want to waste your time not move on to the much cooler and dare a say “saucer” questions then by all means. I can’t stop you…
Unless…
If you’re being here is in direct response to the nature of my continued presence here. If I were to simply stop existing, and move my metaphorical voice to the next question. You would then be forced by THE HANDS OF GOD HER SELF to read the next question. There in ending my suffering and your absolutely annoying ability to persist here—
5. Please tell us the back story of the album theme, as it’s really intriguing.
—Oh! That worked. Ok then, moving on, finally…
Primitive baptist tells the story of a young boy in the mid-first century CE. In a temple to god. A chapel dweller by nature, he one day finds a secret hatch to a vault below the temple. And here he finds a dusty, old, computer. The kind you’d find in the 80’s. That is still somehow connected to the internet. Likening it to a painting that moves. The young boy discovers that this device allows him to literally physically transcend time and space. So he steps through the painting and becomes the very first (and possibly only) time traveler in the world.
As he travels he discovers many secrets and deep magics, and becomes a being of unyielding knowledge. The hero of his own story. Becoming master over life and the betrayer of death. However, this is a disaster course. That was set in motion by…well… we will get into that soon as well.
6. That was such a great album that I continue to listen to today. What was the process like putting that album together musically?
so wildly enough, this record started as a noise project. Like harsh noise. I listened to merzbo’s “pulse demon” and was like…I can totally do that. (Clearly that was a lie) because as I begun creating the harsh noise tracks I started to linger on the quite moments between passages and this space between was deeply intriguing for me creatively. And with my new found love of dungeon synth on the rise. And my history with ambient works and Moog music. I wanted to create a love letter to the FEELING of dungeon synth without feeling restricted to the walls of its many dungeons. Every track you hear in most of my music is the result of a lot of trial and error, experimentation, lazy quick hacks, and a rather destructive tracking process.
I often will make a midi file and bounce it. Bring it in as a sample, play it two Simi-tones lower so it will artifact and distort. Or like ill record a whole ass song, bounce it. Sample it to a midi. Play it an octave lower. And then play a whole new instrument lead over the top of that. And then bounce THAT and put it into idk PaulxStretch or something. Texture reigns king.
But I do find that I favor a melodic sensibility. Just to ground a piece. So ill pretty routinely load in a flute sample or whatever and just improvise away until something sticky happens. Genuinely everything on these records are mostly improved in real time the whole way through a song. And then I go behind that and check my work. And then ill do all the destructive editing I do. All this to say i have NO idea how i would be able to perform this project live.
7. In 2022 you released a Comfy Synth EP called ‘Save The Forest, Little Flower’. Please tell us how this album came about and to you plan to release anymore that continue this subjected path?
Save The Forest, Little Flower, (my darling EP) was a commissioned work from HDK records for their volume 6 Dungeon Synth Magazine. It was a blast making this because I had NO F*&%KING IDEA how to do comfy synth. Nor did HDK want me to do comfy synth. They simple said “make something” and write a story to go with it. And so…being the aquarian contrarian that I tend to be, I reached into the deepest recesses of my mental vast. And found the clouded memories of my childhood. Sitting in front of an old CRT watching cartoons wrapped up in blankets. Within that hazy memory I listened into that sonic landscape of nostalgia. And thats where the impetus came from for this record. I followed a lot of my tendencies workflow wise but explored a more melodic flow state. And tried my damndest to find sounds that had that sense of AGE on them. I used a lot of tape VST’s and Vinyl Warble plug ins to achieve that effect.
I had coined this “A Little Adventure” because at the time I did plan on making more. But because it takes me forever to get my ideas together that sorta fell through. I was also approached by Phantom Lure Records to turn this into a vinyl…but, they wanted me to add more tracks. And I took to long, so they dropped it. I would love to have this pressed to vinyl at some point. I love this EP.
8. Last year we saw the release of ‘Future Cultist & The Slip Space Micromancy’, which was one of the most brilliantly unique albums of 2023. This album leans more toward ambience and retro soundscapes but still maintains that Dungeon Synth vibe. How did this one come about?
Ok so Future Cultist is a continuation of the story set in the first LP. Its part of a planned trilogy of albums i’ve coined “Monomythica” This album sees our time traveling boy whom stepped through the painting, now within the way future. Old, learned, and dying…Reflecting on the time that has passed him. It is here that he begins to use the planets in a sort of divinatory manor to seek out WHY he was called to this adventure. And he finds the answers. There is a beast beset upon all of existence. Story. The ever growing demon of forward motion through the hero’s journey, but this beast has abandoned this story, and has moved to a new one. In our time. Now.
It is then that our hero realizes what he must do has done many times over. And so he uses deep magics to call upon a ritual of death…filtered though the powers of universal love. And he destroys this narrative line. Travels back in time to his former life. And gifts unto himself the very computer that sent him on his journey. With the clear objective of finding the beast with 1000 faces. And killing it. Once and for all…but like in the next album obviously.
As towards your question, thank you for the kind words! I actually had no idea what to do for this record originally. So when “production” began I sorta was throwing everything at the wall to see what clung on for dear life. I was really getting into 80’s goth and post punk at the time. And wanted to uses instruments that were popular during that time. Lots of Roland VST’s and Juno Reverbs. But I also wanted to chase that high of nostalgia from save the forest. So I tried to find the balance of these two idea in a sorta of soundtrack to a space documentary form the late 70s early 80s. If that makes ANY sense…
9. I noticed that both of your longer albums are thirty three minutes in length? Strange coincidence or is there a back story to that?
the first time that happened was purely accidental. HOWEVER…333 is a number that comes up a lot in my life. And when the albums run time came out to be 33:33 I was like, this is so totally a sign. Right? But then something funny happened. I made the next record without any though or care towards that notion. And it just happened to also end up being 33:33…like on the dot. And I was stunned. Maybe I just have an internal clock that taps out at 33 minute. But this has become the branding for the LP’s now. So I gotta stick to it.
10. One of my favorite tracks from that album is, “The Meaning Of Death Is That It Teaches”. Were you shooting for that horror-themed soundtrack aesthetic?
thank you! I don’t know if I was shooting for ANY aesthetic really. This track was the “thesis” of the record. Much like Primitive Baptist’s “the meaning of life is that it ends” was that records thesis. i find that these LP’s often have the term scary thrown at them. or like… ominous. but i truly have never meant to make it that way. i just find the energy of these records has a lingering darkness that hides in the shadows of its more ethereal melancholy. and that energy definitely comes out from time to time. though unintentionally. Honestly, when making these records i find myself in a stage of experimentation until i stumble upon a creative spark that moves me.
But then i get trapped on this cycle of (damn i now have “the sound” or whatever) but now i have to capture that again on these next few tracks to make a coherent record. So to the question, the reason this one has a vibe change up near the end is i wanted to shock the system of the listener and draw them back in. Ambient music can sometimes scare away new listeners due to it being a more passive form of music. and i feel like my goal has always been to move my listeners into a more active state of engagement within these sonic landscapes.
11. What’s next for Wøzard? Any new releases planned for this year?
I’m currently working on an EP simply titled “Daughter” which weirdly i’ll talk about more in depth here in a few more questions….(foreshadowing)
12. Have you thought about releasing a straight up Dark Ambient/Drone album? If so, would it be under the Wøzard moniker or something different?
I haven’t really put much thought into that to be honest. Earnestly Wøzard is by definition and scope an electronic genre-jumping-ish experiment of texture and scope. i have no qualms with the the idea of releasing a dark drone record and i fear that my works already teeter totter on that particular line already.
13. Have you thought about collaborating with other Dungeon Synth artists? If so, who are some that intrigue you the most?
I so totally have! Thought about it I mean. I would love to work with anyone who would have me. I think collaboration is the life blood of music. And while Dungeon synth can be a sort of loners club, I think some of the best records we have seen have come form colboaritive efforts.
however, my process is sorta catty wompus and i have no idea how a collaborative effort would work…
however part two, (the return of the previous statements) My next project “daughter” IS a collaboration…with myself and my band Fuzzwall.
Fuzzwall is a shoe-gaze, fuzzed out wall of sound, inspired by MBV, Asobi Seksu, Boris, The Melvins, my love of riff landed stoner doom / my inability to escape a pop melody.
I hope to use this EP as a stomping grounds for the sound and texture of what Fuzzwall can do. while giving me the ability to play within that which rings familiar in my process for my project wøzard. i’ll send you a tester track of the opening song “ frequencies within the light” I can’t wait for you to hear it!
14. What are your thoughts on physical releases (Vinyl, Cd, Cassettes, etc..)? How important is physical media to music in general?
i think physical media is beyond important! in an age where our very right to ownership to the media we purchase is all hanging in the delicate balance between corporate capitalistic greed and the world being on fire. I feel its desperately needed now more then ever for us as artist and consumers of art to archive our hearts out with the things we wish to keep in perpetuity.
So the listeners shitty Demo tape. Yeah thats worth more then gold to me. The listeners favorite cartoon that is no longer on streaming, pirate it and put it to VHS. I mean it.
The DIY scene of Dungeon Synth has always blown me away for the simple fact that despite the world and everything going against them. Labels and artist still find a way to sell their music. Its inspiring.
15. Once again, I appreciate your time and insight to all things Wøzard. Any last word/comments for those that will be reading this interview?
Thank you for having me, your last review of my record made my whole year. I can not stress how excited I am to hear your thoughts on my latest LP Future Cultist & The Slip Space Micromancy,
Go follow me on stuff! My instagram is my most active…(barely) and my music is on everything you can find music at. Yes even at the weird local wizard man who sings ancient lores under the bridge by I-20 whom smells of lilac and piss.
Even though 2023 has come to a close and 2024 will most likely bring another hearty dose of Dungeon Synth releases, I’m still enjoying a vast amount of Dungeon Synth albums from last year. There are so many great albums that I didn’t get a chance to review and one of them is ‘Awaiting The Dawn’ by Tir. I figured, what better opportunity to discuss this album than to make it my first official review of 2024. Ever since the release of ‘Mountains’ in 2016, Tir has consistently released top-quality albums that transcend any single musical genre. Fast forward to 2023, we find the release of ‘Awaiting The Dawn’ continuing the cycle of inspirational and cinematic Dungeon Synth music. Containing nine beautiful tracks that showcase tranquil, acoustic guitar compositions and backed by natural field recordings and serene synth textures, you’re definitely in for a treat.
Angelic album opener, “C’est La Fin (Part 1)”, immediately caresses the ears with a soothing acoustic guitar passage, with the backing of layered synths. After a short pause, radiant vocal melodies join in to produce an alluring experience. “Where Shadows Dance (Part 2)” is a short acoustic tune that is more straight forward than the opener and procures a hasty indulgence, especially with the harmonized vocals and abbreviated length. Up next is “The Mists Of The Eternal Meadows”. With more of a neo-classical essence, the layered acoustic guitars are mesmerizing on this tracks. Luminous ambiance can be heard in the background, adding an emotional aspect that can be felt down to your internal core. There are some wonderful nature samples as well, giving this track a heart-felt scenery that represents a particular calmness. “In The Essence Of Dying” begins with the subtle sounds of nature before galloping guitar arrangements sound off in glorious fashion. By the time the synths kick in, this track begins to take shape as a folk anthem for the ages. About halfway through the track, the sound grows dark and a short narration becomes the focus. Eventually, the track gets back to the original melody before coming to a conclusion. “A Letter Hooked To The Cloud” commences with a somber piano piece, which is soon joined by a mournful stringed instrument. Both instruments complement each other in the most lugubrious of ways, as this short piece remains sorrowful until its ending. “Threads Of Time” picks up the pace again with a traditional guitar strum, complimented by engaging synth leads. There are some gothic style vocals that fit into this track very well and the more I listen to it, the more this one becomes my favorite song on the album. At nearly nine and a half minutes, “An Unspoken Lament” is the longest canticle on the album. Beginning with an earnest piano chop, a sonic Medieval soundscape soon develops in a melancholic way. With a variety of alluring instruments, this is one of the most cinematic offerings thus far. Eventually, the electronics give way to dueling guitar strums, adding another exciting aspect to this track. As closure draws near, the guitars fade and soft synth leads provide a smooth ending for this fascinating piece. “The Path Of The Dandelion Seed” is a short guitar tracks that plays a wondrous melody over and over again while a lightly flowing stream and chirping birds furnish the natural ambience. The final track to complete this amazing listening experience is “Farewell Ballad”. Just as the title suggests, this track is a gloomy serenade that encapsulates the crux of the entire album, not only dynamically but spiritually as well. Although the guitars are not as dominate here, they can still be heard and provide a brilliant dynamic to the layers of synth leads.
Although Tir doesn’t release as many albums as his other Dungeon Synth counterparts, the albums in his discography are simply amazing and are of the utmost quality. From instrumentation and songwriting to the excellent production, Tir never misses the mark. ‘Awaiting The Dawn’ is no exception to this as this may be his greatest musical achievement yet. Even though this album was released last April, and I’m just now writing about it nine months later, that should tell you something about its radiant charm. Please click on the link below to check it out.
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This was a very interesting year for Dungeon Synth. There were many fantastic releases from some of my favorite artists, surprising releases from new projects, while other artists fell silent for some reason or another. However, I found solace in a plethora of albums that made an impact on me in various ways. Many of those albums are listed below, in my Top 10 Dungeon Synth releases for 2023. I hope you enjoy this list as much as I do and if you’ve not heard of some of these artists, please check them out and support them in any way possible. Happy readings, Happy New Year and I’m looking forward to another fantastic year in 2024.
Tales under The Oak are back with the fourth installment of amphibia-themed Dungeon Synth music and it’s another constant release in a short, but wonderful discography. Seamlessly blending lush, ambient textures with dreamy synth intonations, ‘The Toad Alchemy’ is a reminder of how vast the Dungeon Synth sound can stretch. Not quite raw and Medieval but nowhere near the Comfy Synth spectrum either, this album takes inspiration from all aspects of Dungeon Synth and delivers the good with impeccable songwriting and production efforts. In a unique twist, the final seventy six minutes or so consists of ‘The Toad Academy Audiobook’, which is a fantastic treat that continues the fantasy appeal of the album itself. Don’t pass up this enchanting adventure.
Elminster is one of my favorite Dungeon Synth artists so it should be of no surprise that at least one of the mighty Elminster albums would appear in my Top 10 list. Although each release this year has been nothing short of amazing, it’s ’Through The Mossy Archway’ that came out on top as my favorite. With only three tracks, this spectacular audio adventure is a hefty thirty nine minutes long. These songs are extremely cinematic and create the perfect Medieval scenario of battle, bloodshed and chaotic resilience. The fifteen minute long “Sword Of The Starry Depths” is probably my all-time favorite Elminster song (at least for now) and the remaining two track do not disappoint at all. Definitely check this out if desiring a Medieval soundtrack to get you through the day.
There is not a single bad album in the Guild Of Lore discography and whether it’s one that’s part of the Winterstead saga, or a one off release that showcases a varied aspect of the project, rest assure that you’re in for a treat with a dose of top-quality Dungeon Synth music. ‘Messummur’ presents nearly eighty minutes of Middle Eastern inspired tunes that instantly transports the listener to a distant Persian land where congested markets and mischief characters create an incredulous society. Music wise, this album has it all – tranquil ambient backgrounds, jubilant synth work and a cacophony of instruments (including percussion) that extends the perplexity of these compositions. Favorite tracks include “Tuskhorn Scar”, “By Night, The River Snake” and “Tomb Of Luus Torat”. However, the good times don’t stop there as the entire album is an epic treat for all fans of electronic music.
Medievalist is a new project by Prometheus Studios and Dark Ambient mastermind, Scorpio V. Although this is not his first foray into the realm of Dungeon Synth (check out Forest Of Yore, Stronghold Guardian & Shogun’s Castle), this one is probably more Medieval centric than the aforementioned projects. Deep, ambient textures and a host of field recordings are prevalent throughout but there are cinematic elements that standout the most that propels this recording into ancient lands of vast kingdoms, harrowing lore and imminent battles. This is best if listened to from start to finish as each track builds off of the previous, creating a dark world where our imagination can construct our own ancient tales and mythos. “The Forgotten Castle”, “Homecoming” and “Knighthorn” are standout tracks that truly represent the output of this astonishing project.
LANDSRAAD, the Dune-inspired synth project, released their third album this year and it’s another impeccable offering. ‘Mark Of The Worm’ delivers nearly an hour of synthwave-induced intonations that are otherworldly to say the least. Although aesthetically appeasing to fans of Dungeon Synth, LANDSRAAD plays more of a classic synth style more akin to 80’s electronic-based movie soundtracks and that’s not a bad thing at all. Building upon layers of introspective synth leads and lavish ambient drones, each track has a unique style that is refreshing and adventurous. Tracks such as “The Prince Of Salusa Secundus” and “The Preacher At Arrakeen” produce a massive wall of sound while delivering somber melodies. This is such a great album that can be listened to over and over again without it growing old and tired. I’m already looking forward to the next effort by this always-consistent project.
It’s about time that Aufhocker made it to my year end list. Always a consistent Dungeon Synth artist, Aufhocker goes without notice (for the most part) and doesn’t seem to get any recognition through the various social media channels. The fact is, Aufhocker has been releasing persistent material since 2017 and doesn’t seem to be slowing down at all. Even though ‘Ascent’ was just recently released, I’ve been playing it almost non-stop and it easily made its way to my Top 10 list. Additionally, this has also become one of my favorite Aufhocker releases as it’s showcases a variety of audial flavors, backed by incredible songwriting. “Obsidian Chronicles”, “Whispers In The Abyss” and “Amidst The Umbral Void” are amongst my favorite tracks and they all have contrasting styles that still blend together very well. That’s the unique aspect of this album as no two song sounds alike, but as a collective whole, they all synchronize very tastefully. If you’ve not checked out this project before, this album would be a great start!
Simon Heath, the mastermind behind the Dark Ambient project Atrium Carceri, as well as the massively influential Cryo Chamber label, has released a new project in the sphere of Dungeon Synth called Mountain Realm. This masterful release, called ‘Grayshadow Ruin’, is thirty three minutes of tasty (and gritty), dungeon-influenced offerings that are equally mesmerizing and ghostly. Featuring a lo-fi production effort, along with the sound of tape hisses, the songs themselves are of top quality and detail an ancient world of hypnotizing chaos and mythical characters. My favorite tracks include “Beyond The Mist”, “Goblin Cave” and “A Lone Wizard Emerges”, while the remainder of the tracks are not that far behind. For this being the first release by this project, I’m impressed and intrigued by the quality of each song and how well this album pays homage to such a wonderful genre of music. Don’t pass this one up and stay tuned for the future offerings from the newly created Cryo Crypt label.
If you ever want to introduce someone new to Dungeon Synth music, I would consider this the ultimate album for making that connection. From the lo-fi production to the completely Medieval sounding compositions, ‘Fortress Of The Black Sentinel’ is the consummate soundtrack for ancient times. Not only are these battle hymns for the weary, but this is the soundtrack for a kingdoms majestic reign of all the lands. With only three tracks, and a playing time of just under thirty five minutes, these offerings are not only majestic, but they yield the sword of Medieval might and honor. “The Battle Of The North Reach” is my favorite track of the three and could easily be a song that represents the entire Dungeon Synth genre.
Like a lucid dream, where everything is in slow motion and mysterious beings speak a voiceless thought, ‘Magelight’ by Fogweaver shines through like a luminous entity of tranquility and mesmerizing audial substance. This is an absolutely sensational album that will captivate the listener with dreamy compositions and emotive arrangements. Every single track on this album is stunningly beautiful and full of effervescent life. Representing the more serene side of Dungeon Synth, this can easily be enjoyed by all as it still contains the traditional genre aesthetics and the synth lead work is simply captivating. Even if you’re not a fan of Dungeon Synth but are still into electronic music, I can’t recommend this album enough. Fogweaver is a very consistent project and after hearing this new album, there is no doubt that it was completed with a massive amount of heart and soul.
1. Erythrite Throne – Wrath And Anguish Of The Black Wyrm
Erythrite Throne is my all-time favorite Dungeon Synth artist and I consider it one of the GOAT projects of the genre. So, it shouldn’t come to a surprise that at least one Erythrite Throne release will make it to my Top 10 list. The questions is, which one. Sometimes this is more difficult than coming up with a top 10 list in general, but this year that wasn’t a problem. ‘Wrath And Anguish Of The Black Wyrm’ is not only my favorite Erythrite Throne album of the year, but it’s my top pick for Dungeon Synth album of the year for 2023. The six tracks contained within maintain that tradition Erythrite Throne sound while expanding on genre aesthetics such as an enlightened classical palette, compositional integrity, enchanting synth leads and even a touch of Black Metal-style vocalizations throughout. My favorite tracks include “Forgotten Spirits Feast On Dragon’s Flesh” and “We Slumber Deep Within Realms Of Vampyric Wisdom”, as they showcase all of the characteristics mentioned above and so much more. Make sure you check this one out for a masterful Dungeon Synth treat.
What do you get when you combine the whimsical aesthetics of Dungeon Synth with an amphibian-themed agenda? You get the quirky natured Frog Concert and their diabolical but idiosyncratic release called, ‘Slumbering Sounds Of The Frog Fellowship’. Featuring eleven peculiar tracks delivered in a span of twenty minutes, this is a quick and satisfying audial incursion that emits a soothing tone amongst an aggregated plethora of noises and nuances. Never one to stray away from obscure music, I find this dainty little album entertaining and refreshing.
Commencing with a short intro called, “The Green Downstream From A Hyperdimensional Now” a retro havoc is created that is reminiscent of a classic cartoon. Just as it begins to catch your attention, it briskly fades into the second track, “In Boreal Pose”. Featuring the sounds of nature and haunting organs, it exudes an alluring feel but quickly diminishes before you know it, abruptly leading into the next track, “Fate Fortune And Flies”. With a more upbeat rhythm, it reminds me of a video game anthem with its harmonious synths and overall psychedelic vibe. “Serenade At The Bug Banquet” is another unorthodox offering that contains noise oddities and blaring synths with a grimly retrospective production feel to it. “The Croak Of Life Is But A Kiss” is my favorite track on the album and is more of a traditional sounding Dungeon Synth track with layers of Medieval synths and looping hisses in the background. “Beyond The Paddock” is another majestic offering that aligns with the same delivery of the previous track. There is an all-embracing synthwave feel to this one and the touch of evening time, naturalistic soundscapes adds an eerie feeling. “Toad Antigua” has more of an abrasive sound due to the loud synth mix and sporadic field recordings. However, even though this is a short track, it produces quite a memorable punch. “A Walk On The Water” starts with a hissing sound and then a whimsical synth chop begins to play, sounding much like a looping soundtrack on a Disney ride. Various frog sounds and croaks can be heard in the background as the amphibious theme continues in gleeful fashion. “Birds Of Tragedy” kicks things off with a droning, space ambient sound with celestial soundscapes that is just under a minute long. This is another favorite of mine and it also had major potential to turn into an elongated Dark Ambient masterpiece. “A Dive In The Current” is another light-hearted adventure that finds a contentious synth lead played aggressively atop of a soft, naturalistic field recording. There are small bits of layering here but the real winner is the lead synth chop that plays effortlessly throughout the entire track. The final track on the album is amply titled, “Frogs From Heaven”. At nearly three and a half minute long, it’s the longest song on the album and probably the most ambitious one as well. Wonderfully arranged, this mesmerizing composition sounds like a classical piece played by a synth soloist at an orchestra concert, as the flow of this song is very engaging and it never slows down for its duration. This is an excellent way to end the album and it will leave you wanting more.
The bottom line is, Frog Concert delivers the goods and ‘Slumbering Sounds Of The Frog Fellowship’ sounds better with each listen. Although I wish some of the tracks were a little longer, this project has blooming potential and the wide array of electronic music influences are apparent on every track. I particularly enjoyed the heavy use of soundscapes, samples and field recordings and it added to the overall appeal of this molten journey through swamps and amphibious stomping grounds. Please check out this wonderful little album by clicking on the link below.
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It’s such a refreshing experience when, out of the blue, a new artist is introduced to the scene and hits it out the park on their debut release. ‘Shadow Realm: A Dungeon Synth Mixtape’ is the album in question by the searing duo known as Dreadwood Prophecies. Donning skeletal masks and cloaks of black, this team emits a compulsory sound of synth wizardry and includes a variety of genres to produce their own unique Dungeon Synth experience. Over the course of ten riveting tracks, we get to encounter fantastical realms of nostalgia through lo-fi synth effects and mesmerizing songwriting. At just thirty six minutes in length, this short album packs quite a punch with an assortment of tones, styles and memorable songs.
Catapulting us into a sphere of dark enchantment is the vivacious album opener, “The Evil Wizard Is Ruining The Town With His Bullsh*t”. Quirky song title aside, this is a momentous beginning with fantasy synth vibes and angelic keys, albeit amongst obscure harmonies and nostalgic tones. Up next is the ominously textured, “The Great Unraveling”. As if it were accompanying an enthralling dream, these peculiar sounds transcend the lo-fi production qualities with its flow into other territories such as Berlin School and synthwave. At just over two and a half minutes, this short intonation delivers a wondrous endeavor of anxious cadences and memorable melodies. “The Wonderer” commences with a fast paced synth chop and melodic, acoustic guitar tones. The first of my top three favorite tracks on the album, this one is on another level with its shifting choice of melodies and masterful songwriting. As each section continues to build each time around, you can’t help but to succumb to a world of psychedelic mischief and dreamy horizons. “Somber Longing” is a steady Dungeon Synth offering that achieves a bleak ambience through heartfelt harmonies and serene instrumentation. The overall alluring tone is mesmerizing and continuously draws the listener in with its hypnotic arrangement. The second of my top three tracks is “Into The Abyss”. Beginning with a funereal, celestial tone, a beat slowly forms, creating a haunting atmosphere. Soothing keys come into play and are again joined by a steady drum beat. Various degrees of synth effects add to the mix as drum patterns come and go with surprising effect. As darkness continues to enshroud, this track never ceases to build, adding an array of synths that are addictive and demand repeated listens. “Swamp Journey” presents a snug little canticle that is part whimsical and part quixotic with a sound that glistens with pleasant inflection. Natural sounds in the background elicit a peaceful environment, rich with enjoyment and elation. “Lost Echoes” is another fascinating experience that evokes a melancholic tone with jubilant percussive parts and spiritualistic ambience that supremely fills the background space. Mollifying synth leads produce a mournful fervor with its rhythmic patterns and enchanting harmonies. The third of of my top three tracks is “Dark Ritual”. The layers of music has a hypnotizing effect due to the combination of sonic bass textures and assortment of synth leads. In between, the experience of elongated keys creates a soothing balance that properly fuses all of these elements into a single, massively sounding song. “Patient Montage” is an introspective creation that combines soft guitar strums with resilient synth leads, producing an enigmatic track that is enriched with colorful modulations and exquisite tones that clear and bright. The fitting, final track on the album is, “Death Of A King”. The initial riff is like a Medieval epilogue, emitting a sense of reprieve with its upbeat – almost comfy synth-esque – arrangement and alluring vibe that concludes with a refreshing sensibility.
Dreadwood Prophecies are an amazing project that embodies all that Dungeon Synth has to offer. Eagerly willing to take chances on a cluster of sounds and styles, they’ve easily come up with a unique approach that they can call their own. Whether it’s Medieval influenced or ventures into synthwave or Berlin School, ‘Shadow Realms: A Dungeon Synth Mixtape’ is a refreshing experience with endless replay value. If you’ve not heard this album yet, you’re missing out on one of the genres album of the year contenders. Click on the link below and prepare to enter an audial realm that demands to be experienced.
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The music of Willow Tea is undeniable. Easily identified by its soft, nostalgic sound, mesmerizing ambience and a sincere offering of Dungeon Synth vibes that are fit for almost any occasion. With a consistently growing catalog, as well as ventures into other realms under various project names, Willow Tea is one of the genres most revered artists. Being one of my favorite synth acts, it was inevitable for me to set aside some time to talk to the entity behind the craft and get some insight on the project, humble beginnings and what the future has to hold. Please enjoy this interview with the one-and-only, Willow Tea!
1. Thanks for this interview opportunity! I want to start off by saying that I’m such a fan of your music and the fact that you represent multiple genres is simply amazing. What drove you toward playing synth/electronic music?
Thank you for having me, I appreciate it.
Electronic music has been a part of my life for as long as I remember. Some of my earliest favourite musicians were New Order, Erasure, and Transvision Vamp, all of whom used electronic instruments to varying degrees. In the mid 90s I became interested in making music because most of the bands I liked at the time made it seem so accessible. The first time I actually made music with a computer was in 1999, making sounds with non-instruments and pasting them messily into a very basic audio editing program on my dad’s work computer. At the time I was listening to a lot of dark ambient and noise music (e.g. Brighter Death Now, raison d’etre) so what I was making naturally leaned that way. I dabbled a bit over the years but the results were pretty directionless and really just an outlet. It wasn’t until the last few years that I had the tools and skill to put together the things I’d been wanting to all along.
2. I believe my first venture into your music was with ‘The Iris River’ release. That was such an amazing little album and although it’s considered Dungeon Synth, to me it’s more like Dark Fantasy Synth with ambient undertones. Is this the style your ultimate trying to achieve with The Willow Tea?
I always felt like Willow Tea generally sits a bit awkwardly under the dungeon synth tag, though it shares a lot of the general DNA. My original intention was to make comfy synth but I sort of missed and ended up somewhere else. A lot of Willow Tea takes inspiration from fantasy films and stories, nature, and folklore, without being too deeply indebted to them – I’m not trying to soundtrack these things, but respond to them and reflect their moods or the impressions they left on me. Which is a roundabout way of saying that dark fantasy synth is a description I like and fits well.
3. Late last year, you released ‘Home’ and I have to tell you that dynamically, that album is soundtrack worthy. There are so many grand moments on that album and it’s not as dark as previous efforts. What was your songwriting approach to this one?
Home was loosely inspired by (or as above, a response to) a pair of movies I’d watched: The Witch and Hagazussa. These are quite atmospheric, quiet, dark stories and I really felt a strong urge to write something that fit with them without being an attempt to write something like an alternate soundtrack.
I definitely wanted it to feel a bit more dynamic than some of my previous releases; I felt like I was running out of steam with Willow Tea and wanted to do something a bit more ambitious and challenging for myself. More contrasts, more depths, unsettling but hopeful, and trying to do something that was intentionally structured as an album, rather than just a handful of sad songs. It’s probably my favourite stand-alone Willow Tea, and I am glad people seemed to respond positively to it.
4. Earlier this year you released a split album (under the Nebelkrähe moniker) with Thalmar. I love that raw, grainy Dungeon Ambient mixture that both artists displayed on this release. How did this collaboration come about and will there be anymore releases by these two artists in the future?
I am really glad you like Nebelkrähe. With this, I really wanted to attempt something that sat somewhere between some artists I really admire: Nibelung, raison d’etre, Cad Goddeu, and Woodland Spells in particular. Artists who really use depth and time to great effect. I’ve been listening to Nibelung a lot recently and their works feels so wide, like watching a grainy old film at a theatre. It’s been a nice challenge, trying to write music that has space to breathe and develop through small changes and variation, rather than something more straightforwardly melodic.
Colin approached me at the end of last year about working on a split, and it felt like a good opportunity to try out something less melodic and more atmospheric, more drone-ish, more grainy. It took me a few months to get moving, but when it did it all came together really quick and I feel like our tracks really compliment each other well. We haven’t discussed it yet, but I would like to do another one with Colin at some point.
5. Do you have any other collaborative efforts in the works with other artists?
I do have a few more splits coming up: one with Woodland Spells which will come up on Windkey at some point, another one with Gray Friar as Woods Of Sith Cala, and another one still in-progress but coming along nicely. They’re all quite different and I’m excited for them all.
6. You are so good at creating atmospherics in your music. Have you ever considered creating a straight up Dark Ambient album?
I used to make a lot more noisy dark ambient music, I think I got quite good at building a canvas but it always felt like it was missing something; I saw it like scaffolding or a framework, and I got to a point where I felt like I just wasn’t getting what I wanted from it. Nebelkrähe is a swing towards something more dark ambient, though it’s not quite there. My tastes and influences are constantly shifting, so maybe I’ll end up with something more purely atmospheric in the future.
7. When you’re not spending time making music as The Willow Tea, what other projects are you involved in?
Mostly it’s the broad umbrella of Woods Of Sith Cala where I spend much of my time, but creatively I have slowed down a lot because of life reasons. Nebelkrähe will probably be something I put more focus on, and last week I did a pair of droney, ambient pieces under the title Northwest Passage that I plan to develop further.
8. Do you have any physical releases (cassette or CD) planned for any of your projects this year?
Fiadh Productions just released a tape of Ancient Mariner, a noisy thing loosely based on the Coleridge poem, which I am pretty excited about. A couple of other split tape releases will surface in the next couple of months too. We may see the Nebelkrähe-Thalmar split get a tape release, we’ll see how that one pans out.
9. When I listen to your music I hear a variety of tones and effects. What is your setup like for recording and do you prefer analog or VST’s?
My setup is really quite basic: I have an ageing Macbook with Garageband and a handful of VSTs, and Audacity for admin and editing – though I am starting to use FL Studio on my desktop PC to explore different ways of working and some instruments and tools that aren’t available for Mac. On the hardware side, I have a small midi keyboard and a few other basic home keyboards and instruments which I am using a lot more in combination with some guitar effect pedals. My handheld Tascam recorder has been getting a lot of work recently for field recordings and sourcing atmospheres.
Overall I try to keep it fairly basic and rely on tools and instruments that I am already familiar with.
10. When you’re not spending time with your own music, who are some artists that you enjoy listening to (any genre)?
I have been on a real lofi kick recently, so things like Jötgrimm, Lochdraoidh, Woodland Spells. Recently I’ve been really into Aura Merlin, The Divine Accolade, Sjöhäxan, Ithildin’s Herbarium series, Elyvilon, Wych Elm, and Spectral Sorrow. Aside from dungeon synth, I have recently been listening a lot to Joy Division’s Closer, The Legendary Pink Dots’ The Tower, and Six Organs Of Admittance’s Luminous Night.
11. That being said, who are some of your main influences for getting started in music in the first place?
It’s an ever shifting feast in terms of who I am feeling inspired or influenced by. The ones that are always there and have been for a long time are Joy Division, Einstürzende Neubauten, PJ Harvey, raison d’etre, Nine Inch Nails, Alice In Chains, those are the artists who really made me want to make music. The artists who really made me want to make my own dungeon synth music were Fogweaver and Apoxupon, and I still feel strongly influenced by their music and the wider dungeon synth community.
12. Going back to the music of The Willow Tree and specifically with the album ‘A Drowning’, I get the impression that there is an underlying story for the buildup of these tracks? In can almost imagine a lone wanderer slowing transcending vast landscapes on an impossible journey. Did you have a story in mind when writing this album?
You’re actually quite close to where I was when making A Drowning. I sometimes have an idea of a narrative or theme or concept, A Drowning was one where I imagined a silent film about a trapper being lost in a blizzard in the highlands of Tasmania, and I just went with that image in my head. I like to set a scene or a landscape and just let it develop without getting too deep into telling a story. But I also like to leave space for others to engage with and respond to it.
13. What are some of your own albums that you like to go back and revisit from time to time?
I don’t revisit many of them too often, to be honest. After something is finished and before I release it, I will listen to it obsessively to make sure I’m happy with it, but once they are out there, I am sort of moving on to the next thing I want to make. I put on Dimmerweld by Fjaeldmark from time to time because I like the atmosphere, as well as the split I did recently with Wych Elm.
14. Do you ever draw inspiration from any of your previous works?
Sort of. There’s always a process of learning and developing and building on previous work, I’d never want to stand still in that regard. You keep on moving and further honing your skills and craft. sometimes I’ve spun off new projects inspired by moments or new iterations of something I did previously.
15. I’m really appreciate you taking the time to do this interview for The Dungeon In Deep Space. Do you have any final thought for those that will be reading this?
Thanks for the interview, and keep doing your amazing work. And to the dear dungeon synth community: keep being weird and creative and prolific and kind. You’re wonderful.
Pathworn Pilgrim, the dynamic offspring of Guild Of Lore mastermind, debuted in 2021 with the fascinating ‘Beauty Of The Bitter Coast’. Overflowing with sonic Medieval dirges, the thirty five minute long effort was a great start, especially coming from the already legendary Guild Of Lore Camp. Now, just over a year later, Pathworn Pilgrim have ascended from the keep with an exquisite collection of Dungeon Synth anthems that entertains for the better part of seventy minutes. Better production, excellent blend of instrumentation and songwriting beyond comprehension proves that Pathworn Pilgrim is not just a side project, but a valuable mainstay in this community. Twelve tracks that flow from upbeat canticles to darkened soundscapes provide a vast soundscape for any type of Medieval adventure.
It’s obvious from the very first note, Pathworn Pilgrim has set out to paint a vivid and ancient landscape built on melancholic atmospheres and dismal times. “Untamed & Unforgiven” does an excellent job of setting a mood of Medieval candor while displaying an uncanny approach to symphonic synth music. An excellent blend of Dungeon Synth vibes and orchestral ambience, this track perpetuates a theme that will continually be painted over the course of fourteen tracks. “Breath & Bellows Of The Old Kingdom” commences with dark, whispering drones and naturalistic soundscapes in the background. However, the mood changes to a lighter atmosphere as somber synth leads create a heart-warming environment of peace and tranquility. “The Pilgrims Path II” is a groovy little piece that will have you bobbing your head in unison with the crisp and joyous intonations that build in layers throughout the track. Brisk percussions and amplifying tones create an inspiring mood that can be enjoyed at all levels. “Against The Mighty Jeralls” is my favorite track on the album as it uniquely combines dark, ambient tones with soothing field recordings and mighty orchestrations. This track could easily fit in on any fantasy-adventure movie soundtrack. “The Fells Of Falkreath” is another Dungeon Folk inspired track with stringed effects and a percussive cadence taken right from a Medieval songbook. The imperfections on the flute sounds solidifies the organic balance of this song and it’s another one of my favorites. “From Rift To Reach” focuses on long, drawn out notes instead of faster synth rhythms. This creates a brooding and dreamy atmosphere with amicable intent. “Echoes Of The Dwemer” contains some sinister sound effects right from the start, portraying an ominous vibe and setting a darker tone for the album. As the orchestration elements kick in, the notes are lower and deeper than on previous tracks, invoking bleak atmospherics of sinister subject manner. “Throat Of The World” begins with clean synth tones, almost gothic-like in delivery. As the crisp, synth leads commence, a trance-like effect comes into focus and the soft, ambient textures in the background are amazing. “The Frozen Flora, Fain The Fauna” is a bleak, ethereal piece that transcends time and space with an inevitable destiny of abysmal obscurity. The ambient tones are at times depressive and the assorted effects presents a theme of coldness and disarray. Picking things back up a notch and moving toward an enlightened direction, “Of Hearth & Mead” is the track that will get your blood flowing again. Clean stringed effects and a bombastic beat are at the heart of this buoyant canticle and overall, it has a New Age feel to it. “Snowfall Upon The Pale” is a chilling ambient piece with a huge cinematic production. At times, this sways toward a space ambient piece but then dives back into the vast hole of theatric tones with an audial approach to magnificent soundscapes. “A Hush The Holds Over” continues with the theatrical theme and further enhances the sound of the previous track. As if moving in slow motion or meditating in the early morning air, this composition loiters in the fray of hibernating effects, giving the listener an endless space for contemplating majestic realities. “The Road To Sovngarde” begins with a choir effect, producing a sense of positive light and unheralded energy. As if providing the audible conclusion to a climactic battle, this song envelops victory and valor at the highest sense. The final track on this magnum opus is the impudent “Honor & Strength”. Instead of adding beats to layers of synth tones, this piece commences with an enigmatic beat that provides a backbone for building an array of synth effects that firmly engages the pulsating rhythms. This is one of the most intriguing songs on the album and although it’s different from proceeding tracks, it fits in perfectly and closes out this mammoth recording in dignified fashion.
This Guild Of Lore side project is a musical endeavor that is more a secondary outing; it’s a statement of theatrical and Medieval values that wanders down a completely different path, bringing forth a renewed sense of being and modern synth transparency. Although this is just the sophomore release from this musical entity, it’s a seasoned spectacle of synth greatness with alluring arrangements and beautiful songwriting. I see limitless potential with Pathworn Pilgrim and ‘Breath & Bellows Of The Old Kingdom’ is a huge step toward toward not only Dungeon Synth greatness, but overall grandeur in electronic music in general. Please support this amazing album by listening and downloading from the link below.
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