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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I have lots of fun writing about my favorite labels in The Nebula Breviary column. Originally I intended for it to be a one-off publishing but due to the growth in the Dark Ambient and Dungeon Synth genres over the past few years, I plan to keep at it in order to showcase some of my favorites of both genres. For this particular publishing, I will feature ten exiting albums from the Taste Of Beer Records label. This up and coming label has produced a lot of exciting albums in both digital and physical formats and they continually deliver music from the tavern that surely appeals to an ever growing fan base. Thanks for reading this and I hope you enjoy these albums as much as I have.
1. Goblin Mage – Charms & Devilry
‘Charms & Devilry’ is an absorbing journey through enchanted forests, where mystical entities become your guide for captivating adventures. Minimalistic and soothing, these eight tracks present a light-hearted effort that elicits tones of mystic landscapes and rhythmic modulations that are part whimsical and part daring. Tracks such as “Strange Magick” and “Goblin Town” stand out as studious anthems that are memorable and truly representative of album as a whole. Recommended for fans of buoyant sounds and jaunty Dungeon Synth dirges.
The Medieval times were not always filled with gory battles and drama amongst royalty. When I think of the more ostentatious times, this is exactly the music that I envision being played. Relaxing melodies and soothing orchestrations are at the center of these simple, yet uniquely composed songs. With an eloquent tone that is reminiscent of lenitive landscapes and soft, breezy forests, ‘Vanitas’ is an entertaining effort that truly symbolizes the fulfilling life beyond the Keep and beyond the realms of battle. This will be a Dungeon Synth classic in the years to come.
Talking about a beautiful cinematic effort, ‘The Father of Dragons-Glaurung’ could easily be a soundtrack to a Medieval-inspired action movie. This robust album features four long-players that produce a theatric blend of Dungeon Synth intonations and intoxicating orchestrations. Beautiful produced, one could easily create their own feudal adventure, as these tracks weave through dark landscapes and harrowing Middle Ages creativity. Epic, to say the least, Vouivre has provided the ultimate audial accompaniment that certainly does this genre proud. You definitely don’t want to sleep on this one.
‘Between The Moss And The Sky’ is a dainty little offering that resides in the Comfy Synth realm and it provides a playful antidote for the ears. I can imagine a rainforest in recovery, after the harshness of an autumn storm, where the raindrops faintly evaporate and the ground gives way to natural fungal growth. Content with its beautiful surroundings and exotic location off the hidden path, these tracks expand upon natures gift to mankind and the alluring endeavors that continue to evolve. Simple rhythms and dreamy synth leads will leave the listener mesmerized and wanting more.
5. Assorted Potions & Deep Gnome – Threadmage’s Curious Encounter With The Fae Folk
This is probably one of my favorite Comfy Synth albums of the last few years. Not entirely whimsical, these consoling canticles have a particular enchanting tone that takes a somberly approach on its delivery, instead of being outright quirky. To make it even better, there are a couple of cover songs that are mouthwatering takes on a few Cheryl Crow and Enya classics. If you enjoy the more consoling side of Dungeon Synth, then be sure to check out this amazing project and album.
From the Elminster camp, Anadûnê presents a sharper, more focused effort that is dark, menacing and at times gothic in tone. The four long-players that make up ‘Durin, Father Of Dwarves’ are a true calling to the traditional Dungeon Synth sound and comes complete with rhythmic percussive elements and layers of intoxicating instrumentation. This is a journey that demands to be revisited time and time again, and is one for the ages. Listening to tracks like ‘The Hammer Of Aulë” and “I Wander Alone” gets me exited for endless Medieval endeavors and all of the imaginative tales that come with it. I’m a big fan of this project and recommend this to all of the daring souls that wish to embark on mystifying musical adventures.
Two of Dungeon Synth’s most prominent artists, Elminster & Meadow Grove have teamed up to present one of the ultimate collaboration projects of the genre. Two uniquely crafted artists, very distinct sounds and impeccable song writing on one mammoth of an album. ‘Winds Of Mages’ soars high and delivers a bold blend of darkness, magic and obscure electronic synths. Coherent modulations exude a capricious path of synth madness and haunting tales that need no narrative for understanding. As each track transparently flows into the next, it’s apparent that this is a high-scale output that needs a follow-up album (hint, hint). Another highly recommended album that is sure to get plenty of playing time in the foreseeable future.
‘The Toadstool Elf’ is a quaint, Comfy Synth offering that wondrously flows like a symphonic soundtrack of a mystical domain. With only five tracks and twenty two minute of playing time, there are heaps of entertaining, musical sections contained within to satisfy your whimsical needs. Boasting a dream-like production effort, there is a visible haze to these tracks, as if daydreaming of peaceful times, deep in a hidden forest of elves, mythical creatures and colorful landscapes. This is a serene album with enough harmonious sections to pique your interest.
9. Forlorn Swordsman – Old School Lo-Fi Dungeon Music
When it comes to Dungeon Synth – well music In general – I tend to resonate the most with lo-fi offerings that are raw, organic and in some cases, relatable to my emotional state. That being said, Forlorn Swordsman is right up my alley. Producing an hour long blend of Dungeon Synth and Comfy Synth, ‘Old School Lo-Fi Dungeon Music’ is not only aptly named, but in a sense, a completely dark & eerie experience. These tracks are not flimsily thrown together at all, as they are masterfully orchestrated with bits of melody and chaos – all at the same time. Standout tracks include “Cross The Sorrowfields”, “Dreams Of Old Times” and “Made Free By The Blade”. I hate that I missed out on the cassette version of this, as it would have sounded perfect on my old shoebox cassette player. At any rate, this is an exquisite release and it doesn’t get more lo-fi than this.
‘Audible Mending’ is a unique Comfy Synth offering that features dreamy vocal performances, tranquil synth effects and a song called “The Last Narwhal”. How can you not like an album that feature a song about the rare, Arctic sea creature? Containing six electrifying songs, they each stand out in their own way and envelop all of the traditional Dungeon Synth aesthetics. Haunting and whimsical, this album produces an array of emotions that extends beyond Medieval realms and encapsulating forests while allowing the listen to sink into their own imagination. Another great release from Taste Of Beer Records!
The first time I heard Skuggkonungen, it was an instant gratification to these ears. A masterful blend of my favorite musical genres to include Dungeon Synth, Dark Ambient and Berlin School, this kindred fusion of Medieval resolve produces an output of top notch synth music that is really impressive and warming to listen to. I recently had the opportunity to communicate with the entity behind the project and found a humble, yet engaging dude that loves making music. Heres what he had to say:
1. I really appreciate this interview opportunity and Happy New Year to you. How’s 2023 going so far?
Likewise! Thank you! So far it´s going pretty good! Me and my wife spent New years eve in a cabin in the countryside with some friends. How was yours?
2. It was time we’ll spent with family, thanks for asking. I’m always interested in learning about an artists beginnings. How did you learn of Dungeon Synth and what made you want to play this style of music?
I was always kind of aware of it. I heard about Mortiis when i was a young ultra-TRVE teenage metalhead, but i was not at all interested in electronic music at that point, it was far later that i “noticed” DS. I got really interested in it in 2019/2020 when i was dming a lot of fantasy ttrpgs, it was the perfect music to have in the background, or just when writing or just chilling out. I´ve played in punk and metal bands since i was 13 and later “discovered” electronic music, and started making it myself when i was 16-17. I was drawn to the aspect of making music yourself without other people, not needing to compromise which im sure that everyone who has ever been in a band will know all about. I think what drew me to try and make it myself was just experimentation. That´s how i usually learn how to do things, by trying out a specific genre, or technique like: “Hmm i wonder if i could make a techno track, let´s try”. One of the things that drew me towards it was the sense of DIY, especially the culture of releasing on tapes. I have a unhealthy obsession with cassette tapes haha.
3. Your first album, ‘Det Glömda Landet’ has a lot of Dark Ambient textures. Is that another genre of music that influenced your brand of Dungeon Synth?
I´m a bit ashamed to say that i have ZERO experience with dark ambient haha. I´ve surely enjoyed some dark ambient artists/bands but I could not tell you like a single band/artist name im afraid! Det glömda landet was as you probably know inspired by a ttrpg campaign I ran for my wife and some friends, so I was mostly trying to capture the feeling of that setting (which is so amazing, please check out Forbidden lands) and the vibe of the characters.
4. Where you going for a particular theme with this collection of songs?
The campaign that we played focused a lot on an ancient demon slowly gaining power in the region that the players were in, so I tried to capture that vibe of impennding doom. Two of the players were Orcs belonging to basically a death cult so that was a theme I tried to incorporate as well. I wanted to make a tribute to the campaign and to my players, something that they could listen to and remember those game sessions.
5. On ‘Västmarken’, I notice a shift in ethereal soundscapes, was this in an attempt to expand your overall sound?
I actually wrote most of Västmarken before Det glömda landet, but I remember trying to make something more ambient and not so melody driven. I have a modular synth that I remember using a lot on those sessions. Im a very lazy musician and I try to be very cautious of just doing the same thing over and over again, so I try and make music in very different ways and I think Västmarken is a perfect example of that, just trying a different approach.
6. I love how dreamy this album sounds and it seems to embody a particular celestial spirit. What is the meaning of this album for you?
I recorded most of Västmarken in the late summer of 2021, and I remember playing a lot of Skyrim and Stardew Valley on my switch at that time and I definetly think that influenced the sound of it! I think it reflects on that period of late summer, autumn is slowly creeping in, in sweden the late summer and early autumn is kind of a very somber, or bittersweet time. It gets very dark and cold, but in the same time it´s very beautiful. I enjoy that time very much and i wanted to capture that feeling i think.
7. My introduction to this project was the amazing release, ‘Månens Vidunderliga Kraft’ and again, it shifts toward a very minimalistic vibe. What was the influence for this recording?
Månens vidunderliga kraft was the first Skuggkonungen music I ever recorded actually! I sent it off to a couple of labels, I was expecting rejection but hopefully someone would give me some constructive feedback so I was kind of amazed when Voices of the Ainur wanted to release it! So I think the minimalism of it was mostly due to me not knowing how to write “Dungeon synth”! The phrase “Månens vidunderliga kraft” was something that came to me when I was working night shifts at my job. It translates roughly to: “The wondrous power of the moon”, I thought there was something powerful about that sentence. It´s like an incantation in a way, or a warning. Beware the wondrous power of the moon. I always like to start with something in that vein when I start a new project, a phrase, word or vibe that will go on throughout all the album.
8. The title track for that album has such enlightening harmonies. What instruments did you use to record that song?
Thank you! I´m pretty sure the main melody is a electric piano patch on my Korg volca FM, I also used an access virus TI Snow for the pad, and the Korg Minilogue for other chords and melodies. The Minilogue in particular is one of those synths that I’ve used on all Skuggkonungen releases.
9. As you may know, ‘Dar Skuggor Aldrig Bleknar’ was included in my Top 10 Dungeon Synth albums of 2022. What does the title mean (In English) and what was your focus for these icy cold songs?
And I’m so thankful for that! I was kind of amazed when I saw it! Där Skuggor aldrig bleknar translates (roughly) to: Where shadows never pales”. The concept was sort of a place where the veil between the living and the dead were very thin, a place where shadows never pales, where no one is ever truly gone or there. The inspiration for that actually came from the Lucio Fulci movie “The Beyond”, I wont spoil it but if you´ve seen it, you´ll know…It also came from negative experiences with my last job. My line of work can be very hard emotionally and I really felt like a lot of the anxiety and dread that I was carrying around went into that album.
10. The title track has a Berlin School influence – which is one of my favorite synth styles. Could you see yourself doing a Berlin School-styled project?
It´s one of my favorite styles as well! I think I’m leaning pretty heavily into Berlin school, sometimes I think to myself that I’m not even a “Dungeon synth artist” anymore haha. But I love that most people in this scene is actually very cool with artists expanding and experimenting with other genres inside the DS “sphere” if you will.
11. Your latest album, ‘Analoga Ritualer’ has a heavy use of Berlin School sequences but the base music form is almost like a return to your earlier albums. How did this album come together?
I think that it´s a combination of me listening to a lot of tangerine dream and trying to experimenting and trying to refine my own sound. It´s hard to define your own voice in a way, and that was something i was definetly aware of when making that album, and that reflects in the name: “Analogue rituals”, I’m trying to conjure up my own music. I usually write my music in “Manic episodes”. No Skuggkonungen album has taken more than two weeks to write and record. I wanted to capture that in that particular album.
12. Of all the albums you’ve released, which is your favorite?
Im very fond of Det glömda landet. Mostly because of the memories attached to it. But all of my releases has a sentimental value for me.
13. How has the feedback been from your fans on the output of these albums?
I’m not sure actually haha. I love getting feedback but I suffer from intense shyness and a pretty bad self-confidence so I get kind of embarrassed when people compliment my music. Dont get me wrong: I’m very proud of my music and the success I’ve had but i always kind of feel like one of these days people are going to go: “Wait a minute, his music is shit”. This is a very swedish way of seeing things haha. We have something called “Jantelagen” which is a swedish mentality of: “Dont think you´re better than anyone”. It´s kind of hardwired into almost all swedes. A perfect example of this is this: Everytime I send music to a label I think: “They are probably going to reject me and tell me not to quit my day job”. On the flipside it kind of keeps you humble I guess.
14. What are your recording plans for 2023 and are there any additional surprises in store for us?
I’m becoming a Father in March so I’m not sure how music I will actually be able to make but I got a lot of music done that I’m looking to sign! I got a very special release with a “big” label in the pipeline but im not sure how much I can talk about it, so i´ll leave it at that haha. Im very interested in working with some labels I’ve released with in the past so hopefully that will work out! At the moment I’m gearing up to record a full-on Berlin school EP based upon the concept of Ancient astronauts and Erich Von Dänikens interesting (but full of bullshit takes) book “Chariot of the gods”. I’ve also played around a lot with my old gameboy so I have a lot of “chiptune Dungeon synth” that I don’t know what to do with haha. AND as a last surprise..: I recently started working on a follow-up or sequel if you will to Det glömda landet, based on the new West marches style Forbidden lands campaign I’m running!
15. Again, I appreciate the opportunity for this Interview and most of all, the wonderful music. Do you have any final words for those that may be reading this interview?
Thank you for the opportunity to be interviewed and for supporting my music, I really appreciate it alot! Keep buying tapes and if you want to support my music directly be sure to check out my bandcamp. And thank you to all the nice people who are saying nice things about my music!
Dungeon Synth music just gets better and better each and every year. For 2022, it seems like a million Dungeon Synth albums were released and unfortunately, I didn’t get to listen to most of them. However, I did listen to A LOT of albums and some of my favorite artists created their best works to date, while many new artists brought their A game to this ever growing community. I hope you enjoy reading my Top 10 favorite Dungeon Synth / Synth releases of 2022 and hope some of these made your lists as well.
Meadow Grove has released a handful of impressive albums this year but ‘A Shattered Heritage’ is the one that I keep going back to the most. There is a dynamic quality about these songs that ranges from battle-like hymns to soundtrack-ready anthems. Shifting from cinematic and grandiose to simplistic and alluring, ‘A Shattered Heritage’ has a variety of music that is bound to appeal to a broad range of electronic enthusiasts looking for a further dive into the Dungeon Synth realm.
Talking about a surprise, from out of nowhere comes Pukel’E with a short nineteen minute offering of the most impressive synth music I’ve heard in a while. From my favorite Dungeon Synth label – Voices Of The Ainur – ‘SaqalE’ blends Medieval Synth anthems with Winter Synth themes, producing a mesmerizing sound that I’ve not heard since ‘Silence’ by Inoriand (2019). My only complaint is that there should be forty tracks instead of four with about two hours of playing time. Jokes aside, this is an outstanding release and I can’t wait for this project to produce more music of this caliber.
Blasting onto the Dungeon Synth scene with a grizzly debut album, Sunken Basilica is quickly making a name for this bold new project. Composing a collection of Dungeon Synth anthems with a dystopian edge, these songs are raw, gritty and most of all, memorable. The low fidelity production makes these arrangements standout even more as it thematically sets a precedent for Medieval music and the dilapidated quality of times that it represents. I can’t recommend this one enough – especially if you’re into the more obscure aspects of Dungeon Synth.
7. Skuggkonungen – Den Svarta Stjärnans Brödraskap
There is a masterfully-crafted, calming essence that is congruent on all Skuggkonungen releases that continuously draws you in and wanting more. From synthwave to comfy synth and even ambient textures, the tracks on this album epitomize the true characteristics of Dungeon Synth without sounding dry and played out. Songs such as “Stilla” and “Tid Och Rum” have a futurist style but at the same time, are nostalgic in nature. If you’re new to Skuggkonungen, this would be a great place to start your listening endeavors.
Refusing to be pigeonholed into a single genre, Jenn Taiga bears the sword of impiety for Dungeon Synth and beyond, while slaying those that can’t gauge the synth madness that dwells within. ‘Siege’ contains two tracks of mesmerizing synth Godliness that centers around Berlin School sequences and dark, euphoric tones, ultimately producing an uninterrupted essence of grim energy and cold intensity that is meant to be lost in – within the confines of its quintessential audial enclosure.
5. Elminster x Erythrite Throne – From Tomes Of Stygian Sorcery
So, before this album came out, I had my Top 10 list all figured out, arranged and ALMOST ready to publish. However, two of Dungeon Synth’s most majestic warriors – Erythrite Throne and Elminster – decided to grace the Iron Keep with a stalwart of an album known as ‘From Tomes Of Stygian Sorcery’. Although it’s only been out for a few weeks, there was no way I was publishing a Top 10 list without this recording on it. Three epic tracks from both artists find them at the top of their game and producing the best music of their careers (so far). “Bal-Garond Ascending” from Elminster and “As Depraved Warlocks Gather At My Tomb” by Erythrite Throne are the top tracks on this vivacious and transcending album.
Although Vandalorum isn’t quite as active as other Dungeon Synth artists, the music he does produce is made of gold and considered the best of the best – well, at least to these ears. Last years flagship release, ‘Maewyn’, blew me away with its psychedelic incantations about the life and times of Saint Patrick. This year, we have the RPG soundtrack called ‘Black Mold’ and it’s my favorite release by Vandalorum thus far. Psychedelic orchestrations are fused with whimsical melodies and an assortment of chip tune styled synth leads. Most of all, the compositions are stylish and groovy with lots of surprises thrown in. This is totally an addictive album and it’s also the perfect listen for a late night (or early morning) drive.
3. Heldentenor – Blood Moons & Black Lakes: Chapter Two
The artist behind one of my favorite Dark Ambient projects – Sumatran Black – decided to release not one, but two Dungeon Synth albums simultaneously in January and without hesitation (and much ease), I can report that these albums are pretty killer. ‘Blood Moons And Black Lakes (Chapters One & Two)’ depict a new spin on the genre, but the premise and outcome are abrasive, nostalgic and a great interpretation of this wonderful genre. However, it’s Chapter Two that stands out between the pair and each song is a ten out of ten on the awesomeness scale. The standout track is the near twelve minute long, “The End?”, a seemingly endless foray into the melancholic abyss with ominous guitar strums and bleak ambience. Doesn’t get much better than that.
Thalmar is one of the many projects by the conspirator behind the likes of Elminster, The Owl Knight and Moss Keep and although only a single album has been released under this moniker, it’s my absolute favorite. Four tracks of ambient induced dungeon anthems that are dark, erosive and downright terrifying. Layers of coarse madness intertwine to divulge a maniacal blend of organic synth music full of divine impurities and gloomy modulations. I practically listen to this album on a weekly basis and have done so since it’s release back in February. If you prefer your Dungeon Synth on the darker, more ominous side, then definitely give Thalmar a listen.
When it comes to variety, this has to be one of the most impressive albums that I’ve heard all year. The Dungeon Synth duo know as Arcanist, has impeccably incorporated Black Metal, Berlin School and doom laden melodies in their arsenal to present the complete package know as ‘Hyperboria’ – my favorite Dungeon Synth album of 2022. With a plethora of sounds and styles at their beckoning call, Arcanist are able to compose these otherworldly tracks in a way that they are memorable, enjoyable and beguiling at the same time. I gladly offer forty three minutes of my time on a regular basis to this audial entity and in return, I’m able to submerge in a conglomerate world of exceptional synth music.
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Since 2020, Calignosa has been producing a very distinctive brand of cinematic Dungeon Synth. Combining haunting orchestrations and majestic synth tones with ethereal Medieval themes, Calignosia has established a quality that is undeniable. On latest effort, ‘What Has Risen May Sink, And What Has Sunk May Rise’ Calignosia delivers his most gallant offering yet. Forty six minutes of ambient-filled Dungeon Synth, influenced by mighty Lovecraft tales complete this audial saga that transcends boundaries and amplifies spectacular songwriting.
On opening track “An Invocation To Cthulhu”, ominous tones and instrumental variants emit an introductory song riddled with mystery and haunting soundscapes. The percussive elements depict a time of precipitancy and excitement. “Once Upon A Time In Arabia” is a sonic piece with a Middle Eastern vibe and spacious orchestrations that are soundtrack worthy. As the arrangement shifts through volume changes and crescendos, Calignosia skillfully fuses patterns of beautifully constructed parts that produce a stellar orchestration. “Wandering In The Desert Of Rub’ Al Khali” is a light-hearted interpretation of vast melodies and layers of harmonious intonations with a touch of dreamy narrations that – at times – are very brooding. “By Night They Come Alive” is akin to a professionally composed orchestration with the addition of splendid narrations and a touch of traditional Dungeon Synth sounds. “Iram Dhāt Al-‘Imād” is a somber track with elongated synth notes and light ambient impressions with bouts of lead orchestrations and an overall ethereal vibe. Naturalistic field recordings add to the ambiance, creating a a warm world of solace and tranquility. “Spectral Winds Always Blow From The North” begins with an ambient fill that crescendos slowly into a dark soundscape with menacing results. Inaudible narrations with grim effects add a level of darkness that amplifies the gloomy sounds of this track. “Toward A Nameless City” is a buoyant song full of warm emotions and effervescent orchestrations. This track definitely represents a gleeful time in a distant fantasy world. Modulated narrations are a welcomed touch that injects a sense of animation into the overall experience of this track. “Meditations Of A Mad Man I (Within The Nameless City)” presents an obscure darkness that will keep you on the edge of your seat. With the feeling of a certain evil lurking around every corner, the menacing nuances throughout do an amazing job at painting a surreal picture of bleak embrace. “Meditations Of A Mad Man II (De Profundis)” is a continuation of the crepuscular sounds of Part I but in a more ambient way. With layers of elongated notes, angelic vocal effects and the occasional discordant tone, this is a quixotic way to conclude this two part magnum opus. The final track on this breathtaking album is, “Bedouin Song”. A lively song that embellishes peace and harmony, it features stringed instrumentation and a jaunty blend of synths and percussion that is sure to result in a celebratory dance of boundless energy.
Calignosia is an exceptional artist that epitomizes the orchestral sound and goes above and beyond to create an authentic brand of Dungeon Synth that is easily recognizable. Layers of exuberant orchestrations, unerring soundscapes and an ear for memorable melody are the keys to the mighty adventures that Calignosia always sends us on and ‘What Has Risen May Sink, And What Has Sunk May Rise’ is no exception, as it may be his most exploratory album yet. Fans of classical orchestrations and adventurous Dungeon Synth tones shouldn’t pass on this massive undertaking. Click on the link below to check out this astounding album, you’ll be glad you did.
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Dungeon Synth & Dark Ambient Reviews!! 