Top 10 Dungeon Synth / Synth Releases Of 2021

The great thing about the Dungeon Synth community is that it’s growing at a staggering rate and it seems like multiple albums by an array of artists are getting released on a daily basis. The downside of that is picking just 10 releases to be featured on my Top 10 Dungeon Synth / Synth albums list of 2021. If I had the time to create and talk about my Top 50 releases, I’d certainly do so. However, since it would take me too long to get that done, you’re stuck with a list of my Top 10 favorites of this year. Please enjoy and show your support for these artists if you don’t already do so.

10. Lamp & Dagger (Various Artists) – This Tape Is Haunted

https://lampanddagger.bandcamp.com/album/this-tape-is-haunted

Although this may be considered by some “a seasonal album”, it’s much more than that. It’s like a soundtrack of dread and horror that provides a terrifying backdrop to your ghoulish nightmares. Lamp & Dagger assimilated an all-star cast of Dungeon Synth artists to step beyond their traditional undertakings for creating a spectacle of anguish and fear. The results are breathtakingly evil and definitely deserves more than a seasonal listen. I’ve not stopped listening to this since it’s release and it’s more than worthy of kicking off my Top 10 Dungeon Synth/Synth albums of 2021 list.

9. Baerdcyn – We Are But Somber Beings

https://baerdcyn.bandcamp.com/album/we-are-but-somber-beings

Baerdcyn is a multi-talented artists that finds his stride with a myriad of acoustic instruments and organic tones. Just off the beaten path of traditional Dungeon Synth, ‘We Are But Somber Beings’ is a masterclass in instrumental compositions with raw emotions as the driving force. These mournful tracks contain some of the most serene arrangements that I’ve heard in a while and it’s been one of my go-to albums when I relinquish myself to a period of relaxation and relief from day-to-day endeavors. Tune in to this peaceful, Medieval offering and enjoy its blissful mystery.

8. Elminster – Mountain Specters

https://elminster.bandcamp.com/album/mountain-specters

Elminster is one of my favorite Dungeon Synth artists that has turn it up a notch or two this year with releasing multiple stellar albums and expanding his arsenal amongst multiple project titles. Although just about everything has been amazing, it’s the ‘Mountain Specters’ album that has consumed the most plays from the ever-growing Elminster catalog. The tunes are very dreamy with an alluring charm that depicts a brief time of light during a rather dark period. If someone were to ask me a good starting point for discovering Elminster, I’d look no further than ‘Mountain Specters’.

7. Vandalorum – Maewyn

https://vandalorum.bandcamp.com/album/maewyn

‘Maewyn’ came out earlier in the year but I still listen to it quite often. The conceptual album based on the legend of Saint Patrick maximizes the sound spectrum with massive layers of synth effects, odd noises and percussive patterns & drum fills that are out of this world. With a fusion of upbeat and gloomy arrangements, this is not only an interesting album to listen to, it’s also one of my favorites of 2021 and it rightfully deserves the space on this list.

6. Jenn Taiga – Lunar Nocturnes & Esoteric Incantations

https://jenntaiga.bandcamp.com/album/lunar-nocturnes-and-esoteric-incantations

Jenn Taiga has hit another home run with ‘Lunar Nocturnes & Esoteric Incantations’. Auspiciously fusing Berlin School, retro synthwave and the underlying elements of Dungeon Synth, Jenn Taiga has created a type of energy that is impressive, addictive to listen to, and at times leaves an anxious feeling of the unknowing with regards to song structure and limitless capability. For me, it’s hard to top 2020’s ‘Plight’, but ‘Lunar Nocturnes & Esoteric Incantations’ expands the horizons of the aforementioned with its awe-inspiring resilience and is just as impressive.

5. Uilos – I: Dark Night Of The Soul

https://socalledhell.bandcamp.com/album/i-dark-night-of-the-soul

Out of all the albums in my Top 10 list, this is the only one that caught me by surprise. This is a pensive recording that exposes a meditative value with each and every listen. The production effort is a predominant factor that maximizes the tranquility of this recording and it’s the wall of sound vibe that makes this such a grand offering. The music ranges from Medieval styled anthems to modern synth harmonies and everything just fits…perfectly! Uilos is an artist that I’ll be following really closely from now on.

4. Wampyric Solitude – The Splendor Of Loneliness

https://wampyricsolitude.bandcamp.com/album/the-splendor-of-loneliness

Wampyric Solitude is the only artist (at least for me), that has an album in both of my Top 10 year end lists (one here and another in my Dark Ambient list). In what I consider to be his defining moment in Dungeon Synth, we are graced with ‘The Splendor Of Loneliness’. This album emits almost ninety minutes worth of abrasive Dungeon Synth that is dark, ominous and portrays the hardship of Medieval confrontations. Every track is a near masterpiece but there are several that stand out. “Enthroned Amongst The Eldritch Shadows” and “A Putrid Stench From The Grave Of Hope” are without a doubt some of the best tracks I’ve heard this year. If caustic Dungeon Synth is your thing, then don’t go another minute without checking out this gem.

3. Landsraad – The Golden Path

https://landsraad.bandcamp.com/album/the-golden-path

Dungeon Synth constructed around the Dune Universe? Yes, absolutely and not only is the concept enthralling but the music is some of the best that was produced all year. Although comfortably seeded in the Dungeon Synth genre, it’s the synthwave aesthetics that propel this album to great heights. Providing a futuristic atmosphere with retrospective effects, this is a true audial translation of the Dune story. This spectacle is sure to stand the test of time and will remain one of my favorites for many years to come.

2. Erythrite Throne – Eternal Frost Of The Dark Ages

https://serpentsswordrecords.bandcamp.com/album/eternal-frost-of-the-dark-ages

Whether you’re new to the Dungeon Synth genre or not, Erythrite Throne is most likely one of those artists that will get referred to the most as the “go to” for consistent musical releases. After all, in this modest community of artists and fans, Erythrite Throne would be considered a household name. That being said, there are several amazing facets to his music including Vampyric Blackened Synth and Symphonic intonations. Although every bit is amazing, it’s the symphonic side that I tend to gravitate to the most. ‘Eternal Frost Of The Dark Ages’ is one of those albums and – in my opinion – may be the best album in the discography. Made up of four epic long players, these cinematic anthems deliver a gloomy but melodic style that is supremely written and produced. Every song stands out in this masterclass effort and this has been one of my most played albums of the year.

1. Leander – Sorrow Dwellings

https://leander33.bandcamp.com/album/sorrow-dwellings

There is something extremely special about Leander’s sophomore effort, ‘Sorrow Dwellings’. Not only is the music absolutely incredible, but as a whole, it just feels personal, as if it were exclusively written for me and/or my emotional state. This album was released in January and here in December, it has remained my favorite Synth album of the year. At times it has a traditional Dungeon Synth vibe, other times it has a 70’s prog rock feel to it and above all, these compositions were exquisitely written and are some of the best tunes I’ve ever heard – of any genre. Although only consisting of five tracks, they all stand out in their own way during this thirty seven minute journey. I can’t wait to hear what the future holds for this exciting artist.

Mørk Hest Solidifies A Dark Fantasy Spectacle Of Cinematic Proportions With ‘Conspiracy Of Angels’

I will never seize to be amazed at the amount of energy and focus that Dungeon Synth artist ingrain into their craft. While keeping true to the classic Dungeon Synth sound, acoustic instruments, soundscapes, other genres and dark ambience add layers of transparent value to the genre while keeping it fresh and innovative. Also, the fact that minimalism creates such a massive distinction is fascinating to witness. One artist that is certain to grab the listeners attention with a minimalistic approach to cinematic excellence is Mørk Hest. Solidifying his mainstay in the Dungeon Synth community with the engaging ‘Conspiracy Of Angels’, we find soothing compositions with theatrical build ups and alluring sustainment that is captivating throughout the entire album.

Mørk Hest explores an assortment of musical techniques on this album, but on the tenacious opener, “March Of Iron”, we hear a bombastic percussive segment that as powerful as it is poised. With mild reverberations and a constant rhythm, this is a style that sets the mood for Medieval tales and enchanting anthems. “A Dream Unfinished” commences with soft, chant-like intonations before dreamy synths take over and illicit arrangements alter the emotional stance of the album. “Dead Calling” continues the dive towards darkness as grim synth effects emit a gloomy and subjective vibe. Even though the tone alters several times, there is no question that this is a huge cinematic effort and the power of the ancients is in full effect. “Chatter Of War” starts with an uplifting cadence as illusory synths play a scale of elegant notes that lead into a haunting melody. “Knight’s Last Conquest” is one of the most decadent songs on the album and is of soundtrack-like quality that could easily be heard on a dark fantasy film. “Divinity Of A Night’s Eclipse” takes a turn toward a darkened abyss as a Dark Ambient style drone leads the charge in this ethereal hymn. Ominous vocals are featured as well and provide gothic overtones to this otherwise eerie offering. “Echo Of A Thousand Lost” contains vibrant orchestrations that are intended to calm the soul, especially since the precious few tracks created a sharp descent into a blackened realm. Next up is the tranquil, “Harper’s Ferry”. Including various reverberated soundscapes, this tracks has an underlying melody that is reminiscent of Renaissance-era musical endeavors and contains a trance-like quality that gives it an extra sense of depth. “Perilous Journey” epitomizes the fantasy synth sound with inspiriting keys and a gentle production value that diffuses the minimalistic setting. The title track, “Conspiracy Of Angels” employs a calming synthwave style with looping notes and a gentle harmony that is reminiscent of a daybreak setting, where life begins to take shape at a relevant pace and ataractic appeal. The final track on the album is “Wounded Spear”. Continuing in the same mesmerizing fashion as the previous track, this swan song provides an alleviating sense of ease, as peaceful ventures overtake the dark descent heard previously. This is such a beautiful and emotional way to end this album that you don’t quite want it to end.

Mørk Hest has accomplished an amazing feat of musical proportions by creating the consummate Dungeon Synth album. Although this is more of a orchestral and cinematic endeavor that the traditional sounds of Dungeon Synth, there is no denying the influence of the aforementioned. Utilizing space but dreamy vocal chants, soothing percussion, and an array of synth effects, ‘Conspiracy Of Angels’ is a fantastic album that should be heard to be appreciated. If you’ve not listened to this riveting album yet, please click on the link below and support this impressionable artist.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Links:

https://morkhest.bandcamp.com/album/conspiracy-of-angels

Marsyas Zskin Produces An Explosive Combination Of Tranquillity And Nostalgia On ‘Flight Of Icarus’

Now this is a release that I’ve been very excited about reviewing for a while now. Combining Dungeon Synth with a theatrical sense of delivery, ‘Flight Of Icarus’ is a special album for electronic music in general. Marsyas Zskin knows no boundaries as musical thresholds are pushed to the limits in this spectacular collection of musical tales that exudes a soundtrack-like quality. From aggressive impulses to comfy intonations, this album uses a diversified range of sounds to portray a story that is only limited to the listeners imagination.

Opening track, “Visions Of Bright Aether”, exudes layers of ominous modulations creating a bleak atmosphere while droning synths provide a foundation of unimaginable depth. Throughout this seven and a half minute track, an array of effects are manipulated to create a commotion that is as accessible as it is enthralling. Pounding drums find a place to embed amongst the keys, adding a tasty rhythmic tone. Toward the end of the track, symphonic keys pay homage to early renditions of progressive synth wave. Skipping over a few tracks, we find “Memories Of Minoan Winters” where haunting atmospherics meet sinister and discordant synth chops. There is a beautiful underlying melody that screams in anxious disarray, but retro synth tones keep everything in synchronized perfection in the most bizarre of ways. Next is the beautiful dirge, “Dreams Of Foreign Skies”. The keyboard work is simply amazing here as the wizardry of the music continues to impress. However, the last portion of this track turns into a dreamy soundscape that fades out like a soothing, endless drone. A few tracks later, we hear the whimsical, “As A Boy, He Stared At The Sun”. Nearly nine and a half minutes of epic sounds and textures that take the listener on an audacious adventure filled with twists and turns. From the drum-laden intro to the subtle breaks of various instrumental solos, this song hauls a major influence for Medieval journeys of good verses evil. A few tracks later we find “Rise Of A Mysterious Dawn”. Although this is one of the shorter tracks on the album, the fantastic details present an early morning dawn, where all the creatures begin their days’ adventure while evil crawls back to the depths of Middle Earth, awaiting the next heinous encounter with the evening eclipse. The fourteenth track, “Carried By Light, Back To The Sea” is a serene Ambient piece with semi distorted pads and modular loops, that bridges the various sounds found in this recording. Skipping over to the eighteenth and final song on the album, “Weeping Apollo”, we find a more daring intro with harsh drum pulses and doomy synth tones. At almost eight minutes in length, this song covers a lot of ground musically and sees several transitions from engaging Dungeon Synth to Ambient sounds and hints of industrialized noise. Additionally, the overall sound sways between eccentric keys and maniacal impulses, ultimately representing a mischievous excursion of days long forgotten.

Marsyas Zskin has created an amazing album that has no boundaries and isn’t afraid to explore territories normally out of reach in the Dungeon Synth genre. Also, this is a mammoth of a release with eighteen tracks totaling about ninety minutes of playing time. Even with an album that long, there are enough wreathes to keep the listener engaged from start to finish. That’s a huge accomplishment, especially for a genre that sees a ton of releases. If you’ve not checked out ‘Flight Of Icarus’, I highly recommend doing so. Please click on the link below and download this mesmerizing release.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Links:

https://realmandritual.bandcamp.com/album/flight-of-icarus

Grande Loge Evokes Tribal Beats And Ritualistic Atmospherics On Compelling ‘Mantras’ Release

Once again, I find myself arriving late to the party on a fantastic album that was released toward the end of 2020. With so much music being released in the genres that I’ve created this blog for, it sometimes feels impossible to stay dialed in to all of the magnificent works of art that find their way into this world. However, as I’ve always said, it’s better late than ever, especially if discovering something that may have a lasting impact. Grande Loge definitely fits that bill with their awe-inspiring, ritualistic ambient debut, ‘Mantras’. Featuring seven tracks of ceremonial dirges, these songs exemplify ancient tribal hymns with traditional instruments and a solid production.

From the start, “Epopteia” takes the lister back in time, to a medieval Scandinavian period where music and art were inspired by the land, ancients Gods and culture. A broad mix of conventional instruments and hymnal chants, this track sets a particular mood for mythological inspiration and ritualistic dominance. As the track continues, the pace increases and the compositional movements become more austere. “Mithra Invictus” commences with bold vocal incantations, followed by Middle Eastern-style melodies. A variety of percussive elements create a galloping style arrangement and the vocal performance become increasingly powerful. An impressive break toward the middle of the track brings more layers of stringed instruments and soon after, it picks back up to an enchanting performance of strident harmony and ancient throat singing. “Hekaten” continues with the powerful vocal performances in a chant-like manner, complete with serene musical accents, with the occasional bell ring. As the song ages, the vocals become more majestic and continue to stand out. This track is reminiscent of a group of Norse warriors participating in a ritualistic ceremony before forging on to battle. “Avekko” has a compelling and unique vocal performance, with layers of vocal chats & whispers, while drones of throat singing occupies the background elements. Harsh shrills of warrior-like cries peak at random intervals, while a beautiful violin lead stands out between all of the vocal endeavors. “Aecroto” begins with a simple percussive beat and then menacing overtone vocals begin to engage – chanting a traditional narration. A background drone increases with anxious intent while a wide range of voice melodies continue to shine. “Tenya Pon” is a fun little track that will have the listener tapping their feet in unison with the drum beats, while singing along with the simple vocal chants that are present throughout. It’s easy to tell that this is a celebratory track due to the upbeat percussive performance and the sing-along style vocals. The final track on the album is the ceremonial “Hierophantes”. Various traditional instruments synchronize to compose a minimalistic but glorifying final performance. Representing the darkness of nature and melancholy, this song is soundtrack worthy and succeeds in catapulting the listener back to a dark time where an ancient civilization lived off of the land and endured the hardships of Arctic-like elements and suffrage through battle. This is such an exalting way to end this amazing album.

‘Mantras’ is an exception album and such a bold statement for a debut. Grande Loge sustains a high caliber performance throughout this stunningly beautiful magnum opus and every track stands out in the most impressive of ways. Combining elements of traditional instruments, multiple singing styles and haunting background ambience, Grand Loge creates a challenging platform for ritualistic inspired music. Fans of Wardruna and Phurpa should dive into this album immediately and everyone else should take the time to check out this extremely special performance. Click on the link below to download this grandiose musical experience.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Links:

https://cycliclaw.bandcamp.com/album/mantras

Eyre Transmissions XIII: Interview with Synth Extraordinaire, Elminster

With just over a year of active involvement in the Dungeon Synth scene, Elminster has managed to rack up quite an assortment of excellent albums. Whether released under his flagship moniker – Elminster – or other incredible crafts such as Anadûnê, The Owl Knight or DCCCVIII, it’s apparent that Elminster is in it for the long haul and is quickly becoming a “go to” artist for all of your Dungeon Synth needs. I recently had the opportunity to chat with Colin Bacon – the maestro behind all of these amazing projects – to find out what the driving force is behind all this talent, how he got into this genre of music, and what the future hold. Please enjoy this very detailed account for all things Elminster!

1. Thank you so much for this interview opportunity. Elminster hit the Dungeon Synth scene just over a year ago with the ‘Making Of A Mage’ series. Since then, you’ve been on a relentless spree of new album releases, other projects and splits. How did you get started in the genre and where are all of the fresh ideas coming from?

As much as I wish that I could say that my introduction to the genre was by finding a cassette hidden in the middle of a stone circle or castle, I actually found the genre via Youtube’s recommended function. I had checked out a few before, but the first handful to grab me were the Blood Tower/Apothecarium split, Barbaric Frost’s Against The Darkness, Coniferous Myst/Owlbear/Scrag/The Herbalists split (which Isaac was kind enough to sell me their artist copy of), and the Druadan Forest/Uruk Hai/Bannwald Split. All of these albums are magical to me and, even though I now know the basics of songwriting, I still am not entirely sure how each was made. Pivoting to the second part, I get a bit restless with my hobbies and often feel like I am climbing the walls if I am not able to indulge them, in a rather compulsive sense. As for the variety, I read a lot growing up, especially fantasy novels. Each of my projects is an attempt to capture a specific feeling within a wide and varied genre.

2. I want to go back to the ‘Making Of A Mage’ series of releases. Can you talk more about the inspiration for these EP’s and do you have a plan for anymore “Mage” albums?

The inspiration for TMOAM was a novel of the same name by Ed Greenwood, never has a book captivated me with such ease. My brain created a picture of every scene and ran wild with how I would make a movie for it, how it would be scored, etc. etc. (It would be animated similarly to the 1970s LOTR movies, if I had my way). When searching for what the alias of my project would be, Elminster just felt right and I decided in that same moment that my favorite novel required a soundtrack. Each of the EPs is named after a part of the book (part 1 was brigand, part 2 burglar, etc. etc.) and each of the song titles are referential to plot points. Seeing as I created a product that accomplished what I wished it to, there likely won’t be any more albums of that name, but I would certainly consider doing soundtrack albums for the other books in the Elminster series.

https://elminster.bandcamp.com/album/the-making-of-a-mage-2

3. Earlier this year, you released the Crypt Hop EP, ‘Beats To Dungeon Crawl To’. This was definitely a seamless transition to another one of the fascinating Dungeon Synth sub-genres but was this something that had been planned all along or just an experimental effort?

When first creating the Elminster project, I did not know of Crypt Hop, it was only through the Vandalorum episode of Midnight Ambience and murmurings on facebook that I learned about it. I had been into the concept of beatmaking ever since discovering the grime artist JME during early lockdown. Through him, I got into UK Drill artists such as Digga D, Kwengface, Teezandos, Abra Cadabra, and Pop Smoke (an american who laid down NY Drill vocals over UK beats, rest in peace Bashar). I saved up my money and got FL Studio and began to learn how to make those types of instrumentals. While getting into each of the aforementioned genres, I began to realize that I enjoyed the fact that they borrowed from carribean dance rhythms and blended said rhythms with darker instrumentals. A practiced ear will likely notice that most trap artists put the snare on beats 3 and 7 while using a steady rhythm hi hat pattern, but these genres (drill especially) like to put the snare on beats 3 and 8 while using a nonlinear hit hat pattern, which gives the beat both bounce and swing. From there, my selfish desire to marry crypt hop and drill produced the EP in question.

https://elminster.bandcamp.com/album/beats-to-dungeon-crawl-to

4. I have to talk about ‘Antipaladin’ as it’s one of my favorite efforts by you. How does your albums evolve from one epic story to another and what do you think makes this one stick out amongst your ever growing discography?

My albums usually get named near the beginning. I am usually on a nature walk and think “It would be awesome for an album of X name to exist. Alright, Colin, what would it sound like? What would the songs be called?”. The reason it stands out could vary from listener to listener, but the reason it feels different to me is that it was the first time I had had a mythological topic in mind and that I really pushed myself to learn a new songwriting style, which I’ve heard get called Berlin school (I’m a bit of a genre tourist with that genre, so I won’t claim to have a great understanding of its hallmarks).

5. You also did a very unique thing with this release by giving download codes for those that donated to the Shelter House Domestic and Sexual Violence Center in Fort Walton Beach, Fl. What was your decision to release this on a “give back” like scenario?

I’ve been slowly coming to the realization that I want to be involved in activism. I naturally lean a bit more introverted so I figured that leveraging my music would be the most effective and most comfortable way for me to do some good. On top of that, I figured that a DV shelter is something that pretty much anyone could get behind, so people would be willing to give more freely. I’d like to thank High Mage for being so willing to help me make this a reality and I’d like to thank the community for raising a combined $250 for those charities from that run, it really warmed my heart. I would also like to mention here that the split I have with Maiden Hair and coming out through Weregnome this October will also be giving its proceeds to (I believe 2 seperate) wildlife charities, please consider donating if you have the means to. I would like to make this type of release happen a few times a year.

6. In July of this year – almost a year after releasing albums under the Elminster moniker – you started a new project called, Anadûnê. Other than the music being a tad more cinematic than Elminster, what influenced the creation of this project?

This project was created because I was lucky enough to land a spot on the dev team of the Medieval II Total War Silmarillion Mod as the in-house musician. I felt like a project of that theme should be separate and approached with a different writing process.

https://elminster.bandcamp.com/album/the-rise-of-gondolin-2

7. ‘The Rise Of Gondolin’ (by Anadûnê) is probably one of your coldest albums to date, but there is so much dreamy melody happening at the same time. How do you manage to incorporate these distant facets in order to create something so amazing?

Thank you! I’ll be honest, I don’t know. With that album, I didn’t let myself think too hard about it and just let myself write. I often find that it is pretty obvious when I overproduce a release and usually find that I enjoy trusting my instincts. Gun to my head, the patches I used were not as in your face and I leaned into them.

8. The Owl Knight is another fascinating project that draws upon chip tune, retro experiences and classic RPG theme songs. How are you able to make this sound so refreshing without being as whimsical as other chip tune recordings?

If I had to guess, the reason it doesn’t share a lot of the tropes with other chip tune recordings is a combination of hardware (I use toy keyboards as opposed to synthesizers/console sound cards), growing up after the era of 8 bit music being the de facto game soundtrack, and by being primarily inspired by the album Sunken Dungeon by Longsword. I also have listened only to a little bit of chiptune DS. It’s definitely good music, but there’s only so much time in my day.

9. You have another Crypt Hop project out called DCCCVIII. First of all, what is the meaning behind the name and secondly please tell me that this is a long term project because it’s freaking amazing!

DCCCVIII is a nod to my love of using crazy 808 patterns in my beats, it is the roman numeral spelling of 808. I have no plans to stop that project, it has been both incredibly fun to write for and has been extremely good for me to have a new challenge, genre-wise.

https://elminster.bandcamp.com/album/in-days-past

10. In August alone, you’ve released 5 albums including two splits. Where do you find the time to stay this busy and what’s behind all of the musical motivation?

I get incredibly restless and I don’t sleep a whole lot haha. On top of that, music has been a very rewarding hobby to get into. I love the dopamine hit I get when I hit the publish button or when I see people receiving their copies of my tapes.

11. The split release with Baerdcyn is so tantalizing that it’s quickly becoming one of my most listened to albums at the moment. Do you record music specifically for split releases or are they leftover tracks from previous efforts?

Thank you! I usually create them specifically for splits, I generally don’t keep a lot of “overhead”. When I finish something, I release it in most cases.

https://elminster.bandcamp.com/album/mystical-manifestations

12. I think split releases are very important as they show artist solidarity and help promote from within. What are your thoughts on this and do you have any more split releases in the works?

That is absolutely how I view them! I love the work of so many artists and selfishly want to have an opportunity to work with them and splits allow me to do that in a less invasive way. I also got into the genre through several splits and from doing so gained an immense appreciation for them. I have 2 more in the pipeline that are finished, 1 that I was doing the vocals for before I blew out my voice from screaming, and handshake agreements with a few artists for more in the future.

13. Do you have any plans to share your craft in a live setting, specifically during one of the Siege events?

I am certainly interested in playing live, but would probably only do so if reached out to. I would really want to do something fun for it if so.

14. What do you have in store for the rest of 2021 and what are your musical goals/dreams for 2022?

For 2021, I am planning on continuing to have fun writing different types of music. I have plans to try my hand at black metal and might give black ambient (think gonfanon but without being a fascist) once my 4 track arrives. In December, High Mage and I have agreed to do an event called Magemas, where they will be doing an entire month of my releases, so keep your eyes peeled for that (I hope they don’t mind me mentioning it here haha). For 2022, I plan to release an Elminster box set through them as well.

15. I really appreciate your time and thanks for all the great music! Do you have any final words or thoughts for those that may be reading this interview?

Thank you so much for having me! This has truly been an honor. My parting shot would be to ask the community to keep their eyes open for releases of mine with the charity element involved as their donations will be able to impact the wider world and allow our beautiful genre to do good for others. Stay safe and love each other. – E

Links:

BC: https://elminster.bandcamp.com/music

Psyclopean, Visions Of Ulnahar & Noctilucant Congregate For A Cinematic Lovecraftian Offering With ‘Libris Arcanum’

What happens when three idealistic artists come together on a collaborative effort with a single theme in mind? An absolutely brilliant album is born and an unparalleled blend of Dark Ambient and Dungeon Synth intonations tell a Lovecraftian story of horror and lore. ‘Libris Arcanum’ presents six epic tracks of sonic adventure with Psyclopean, Noctilucant and Visions Of Ulnahar contributing two fanatical adventures each. These dark compositions combine droning ambience with the essential sounds of riveting Dungeon Synth, providing an eerie exploration into the world of One of our favorite fantasy authors.

Psyclopean caters the albums lead off track with “De Vermis Mysteriis”. This majestic undertaking begins with soaring synth leads and subtle soundscapes that set a captivating scene of somber foreboding. The cinematic approach to the first section is a beautiful introduction to this extremely diverse album. However, gloomy elements start to merge in a horrific fashion with moments of layered keys fused with a grim ambience. Elegant keys bring this song to a close, properly preparing the lister for the remaining intonations. The next track is “The Dhol Chants” by Visions Of Ulnahar, setting an aggressive pace with jolting soundscapes and loud, distorted keys. As these tones drone on at full capacity, evidence of evil luring in the background is apparent, as subtle instances of abhorrent effects make their presence known. This one will definitely get the heart racing as the unknown prevails. Next up is “Cthäat Aquadingen” by Noctilucant. The sound of crashing waves start this eight plus minute journey into oblivion and soon, discordant keys set a bleak atmosphere. Inaudible noises dwell in the background as sections of divergent disarray cast a spell on those that continue to listen. About halfway into the track, ominous keys create a sense of melody, casting a shadowy light on this otherwise dark encounter. Psyclopean is up next with their second track of audial ambience in, “The Book Of Dayan”. A beguiling, warm drone casts a melancholic foundation while synth effects churn out a cold arrangement. A mournful vocalization adds a layers of funereal essence before giving way to a drifting thunderstorm field recording. Echoing narrations can be heard in the distance while peculiar percussion valiantly plays an off-kilter beat. The final few minutes of this track is filled with celestial drones, thunderous explosions and ethereal chants. If this doesn’t get you in the mood for Lovecraft-themed Mythos, then I don’t know what will. “Zanthu Tablets” is the next track provided by the magnificent Visions Of Ulnahar. Desolate waves on a gloomy beach front encounter cinematic tones and synth glitches showcasing a mixed emotive state. It’s as if this composition represents the ancient clash of good versus evil. This mesmerizing combination carries on until the end of the track, where the waves suddenly disappear and we’re left with just a soft theatrical melody. The final track on the album is provided by Noctilucant and it’s called “Cultes Des Goules”. Continuing on with a barrage of soundscapes and incandescent tones, this track is like an audible nightmare with haunting ambience, muffled wind sounds and soaring effects that are close to ear-piercing in pitch. A malevolent narrative piece is embedded amongst the ghoulish chaos as this nightmare of a track continues on. Retro synth leads are included in the mix and they provide a sinister tone to the overall sound of this track.

I know that this album has been out for a while now, but it’s never too late to review an epic collection of songs of these proportions. Each of these three artists – Psyclopean, Visions Of Ulnahar and Noctilucant – bring their own perception and taste for Synth excellence to collaborate on this pinnacle recording. Combining the best features of both Dungeon Synth and Dark Ambient music, this theatrical presentation tells an illuminating story of conceptual Lovecraftian manifestations. These are top-notch compositions with a supreme songwriting effort that deliver prestigious music of the highest order. Please support this album and these artists by listening to (and downloading) it from the link below.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Links:

https://noctilucant.bandcamp.com/album/libris-arcanum

Celestial Ephemerides: A Collection Of Dungeon Synth Summary Reviews, Part III

Here with my third round of Dungeon Synth summary reviews that I call Celestial Ephemerides. As the Dungeon Synth genre becomes more expanded with an increased sense of popularity, there are many artists that continue to broaden their sound beyond the sphere of traditional Dungeon Synth. Such is the case for the amazing artists in this posting, as many of them create a fascinating world with their music that incorporates many elements of surprise. Please check these artists out and support them as much as possible and I hope you enjoy these releases as much as I do.

1. Meadow Grove – That Which Lies Beyond

‘That Which Lies Beyond’ is probably my favorite output but Meadow Grove as it’s firm mix of ambient textures and minimal use of synth leads create a mournful Dungeon Synth experience. These four epic tracks present a somber, musical experience that is part whimsical, part melancholic but completely alluring that is surely to reach a broad spectrum of listeners. When this thirty three minute long excursion is over, you’ll want to start it again, further embracing the enlightened bliss that it exudes.

https://meadowgrove.bandcamp.com/album/that-which-lies-beyond

2. Kalameet – The Everlasting Prairie Winters

Kalameet exemplifies the Medieval Dungeon Synth experience with bleak atmospherics and haunting synth arrangements. The gloomy production effort also increases the authenticity of the era that this recording represents. in addition to the captivating synth compositions, elements of percussion and whimsical key leads thwarts the listener back to a darkened time where castles and enchanted forests reigned supreme. I particularly love the ambient lead-ins for each track as they prepare the listener for a middle-aged journey that is compelling as it is real.

https://kalameet1.bandcamp.com/album/the-everlasting-prairie-winters

3. Gate Master – Gate Master

Although the self-titled Gate Master album is not the latest release in his catalog, it’s definitely one worth mention especially if you’ve not heard it yet. ‘Gate Master’ is everything that I love about some of my favorite genres of music. It contains a methodical Dungeon Synth cadence that draws the listener in as well as some bleak atmospherics that will satisfy fans of Dark Ambient music as well. On top of that, it encompasses some very cold and powerful Black Metal that was some of my favorite from last year. The track “Inverse Transcendent Hypostasis” is worth the price of the album by itself. Don’t pass on this artist and the amazing discography of albums that are available.

https://gatemaster.bandcamp.com/album/gate-master

4. Caliginous Empire – Gloom Lands

‘Gloom Lands’ is a captivating listening experience that runs the gamut of soundscapes and genre-bending within a twenty two minute span. Starting with a cinematic intro and leading into an fascinating journey of fantasy synth induced tracks, ‘Gloom Lands’ proves its epic prowess by virtue of musical compositions instead of the length of the album itself. One minute it is inviting with eccentric tones and the next the listener is presented with a brood of darkened atmospherics. An excellent debut from an up-and-coming Dungeon Synth artist!

https://caliginousempire.bandcamp.com/album/gloom-lands

5. Lamerak – Lamerak

At just sixteen minutes in length, ‘Lamerak’ is a charming fantasy synth adventure that catapults the listener into the heart of Medieval elements where a serene setting provides a peaceful existence for the entire kingdom. Although mostly a light and enchanting experiment, there are aspects of obscurity that enhances the listening experience. Synthwave effects create a haunting atmosphere for these tracks, making it a standout release in the Dungeon Synth community.

https://lamerak.bandcamp.com/album/lamerak

6. Lamia Vox – Alles Ist Ufer. Ewig Ruft Das Meer

‘Alles Ist Ufer. Ewig Ruft Das Meer’ is a soundtrack worthy album of cinematic proportions. Beautifully produced and classically arranged, these tracks fuse elements of Dark Ambient and Medieval Dungeon Synth with crystal clear clarity and a precise mix of elegant synth leads and dreamy narrations. Also featuring percussion, piano and stringed instrument arrangements, this album is an absorbing listen and is guaranteed to get multiples spins from listeners of this variety.

https://lamiavox.bandcamp.com/album/alles-ist-ufer-ewig-ruft-das-meer

7. Apoxupon – Nameless And Formless

‘Nameless And Formless’ is a bold and refreshing take on Dungeon Synth music. With dark atmospherics, layers of amusing keyboard arrangements and elements of experimental, avant-garde, Apoxupon has conjured quite an adventure with their fifth album of inspiring synth music. Never one to maintain the status quo, Apoxupon expands upon the realm of darkness and fantasy synth to create a signature sound that is unmistakable. This is one of my favorite Dungeon Synth albums of the year so far.

https://apoxupon.bandcamp.com/album/nameless-and-formless

8. Frailord – Injecting Divine Essence Of The Empyrean Kingdom

Frailord, one of the many projects behind Serpent Swords Records mastermind Davey Sasahara, finds a more regimented sound with a stark mix of Medieval Dungeon Synth and Black Metal, put together in a lo-fi production setting. One thing that stands out is the bombastic percussion, as it creates a hasty style of synth music that hypnotizes from the very first note. Sure you can hear the influences of Serpent Sword projects, but the intonations released on this album stand on their own as a unique project and identity. Another amazing effort by Davey!

https://serpentsswordrecords.bandcamp.com/album/injecting-divine-essence-of-the-empyrean-kingdom

9. Dahliad – The Feast Of Fools

‘The Feast Of Fools’ is a masterclass of synth compositions that extends beyond the Dungeon Synth realm. The theatrical presentation of this album as a whole is on point, while the inclusion of dark ambience and trance-like drones adds a bleak setting to the ominous output of each track. As if you’re trapped in a nightmare, certain tracks will play on the listeners emotions, ensuring an essence of coldness. However, other tracks contain an overwhelming sense of beauty, creating a wonderful balance as this album takes us down a different path in the realm of Dungeon Synth.

10. Genus Inkasso – Odd Little Gestures

This album is a little older but definitely with the mention in this article. Although not your typical Dungeon Synth album, it’s more like an experimental noise recording with harsh modulations that resonate in the same fashion as Dungeon Synth does. Using frequency manipulation as it’s stronghold for tonal adventure, this single track provides twenty six minutes of angst-laden soundscapes and reverberations that is sure to generate some feedback (no pun intended).

https://tonestrukt.bandcamp.com/album/odd-little-gestures

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Tir Brings A Cinematic Approach To An Ancient Time On ‘Persepolis’

This is not the first trip to The Dungeon In Deep Space for Tir, as I reviewed the spectacular offering, ‘Urd, Skuld & Verdandi’ back in 2019. That album was a quintessential element for the Dungeon Synth genre and one that (I feel) elevated Tir’s status as a driving force in the community. Fast forward to now – and several releases later – and we’re graced with another experience beyond comparison in, ‘Persepolis’. A fifty eight minute epic journey translated through beautifully crafted and cinematic synth music that transcends traditional Dungeon Synth settings. Prepare to be amazed as Tir takes you back in time, centuries before the darkness of the Medieval period and the somber essence that it foretold.

From the very first note of “Daemon Of Desert (Aži)”, an intense cinematic quality fills the air and increases as multiple synth effects and percussive elements provide a somber, yet melodic introduction to this intoxicating album. “Anahid’s Miracle” is a serene, melancholic anthem that plays a sorrowful tone while windy field recordings establish a scene of desolation and solitude. The beautiful choir-like sounds add an addictive resonance that go beyond the reach of any genre. “Summoning Alborz” is a slow starter but the natural soundscapes and enchanting instrumentation begin to take charge and will beckon the listener to dry lands and mystic occurrences. “Righteous Viraz” is a whimsical piece that is supremely memorable and the mix of high and low tones work amazingly well during the intro. Soon after, grandiose keys cry out in pain as somber melodies commence and present an emotional journey until the end of the track. “The Dragon King Raised An Army” completely contradicts the last track, as it’s eerie tone sets a dark path toward desolation. Haunting keys with a small amount of reverb works really well here and then suddenly – for the final minute – a lighter harmonic synth shows a glimmer of hope. “Mēnōg And Gētīg” begins with a bizarre synth effect that ultimately fused into an austere Medieval dirge, complete with rhythmic percussion and trance-like keys. “The Stone Thrown From Činwad Bridge (Extended)” starts as a beautiful ballad with lush instrumentation and a gentle arrangement. As this nine and a half minute track continues to progress, layers of alluring guitar chops fill the air with scenic beauty. A haunting ambience plays in the background, bringing a tinge of darkness to this otherwise charming song. As the guitars slowly fade, we are left with the grumbles of deep winds and enchanting soundscapes. “Sands In The Sky” is a gloomy Dungeon Synth effort with bells, orchestral movements and grainy production. However, half way through, crisp string sounds provide an element of surprise and intricately woven detail. “The Song Of The Cosmos Is Heard From Persepolis” is another Medieval masterpiece as it contains all of the elements that make it a stand out track. From the deep, baritone key arrangement to the ancient soundscapes and vocal effects, this track covers a large range of sounds to present its impressive composition. There is also a touch of synthwave to spice things up a bit. “The Rising Shadow Of Chaos” is one of my favorite tracks as it wastes no time getting to the point with its drum and synth audial attack. Although it’s very minimalistic, there is a dark groove and a terrifying sound that is suddenly amplified by the grotesque vocals at the end. I need to hear more of this! “Blood Red Desert” begins with a warm drone and some snappy instrumentation before settling into a Medieval anthem, worthy of multiple listens. “Welkin” is another beautiful ballad that has layers of well-crafted synth leads and several twists and turns to keep it eccentric and compelling. “Empire Of Stars” is a short, melodic piano piece that morphs into an amusing track with a full ensemble of instruments. Just as you get into the grove of this little jingle, it comes to an unfortunate but abrupt end. “Lost To The Shadows Of Memories” features expanded notes, as if this were being played in memory of a lost soul. I love how (as the song progresses) the elongated notes build in layers, almost creating a symphony of madness as the drums and backing keys play in solidarity. The final track on the album is “Forgotten Prophesy (feat. Varkana)” and it’s such a massive way to close out this spectacle from ancient times. With Tir’s passion for cinematic arrangements and Varkâna’s signature beats and effects, what can go wrong? I would actually love to hear these artists collaborate on a whole album, as this track is one of the pinnacles of ‘Persepolis’.

I continue to be impressed with Tir, as he constantly raises the bar with each release. Never one to settle for “just average”, Tir goes above and beyond to create an extravagant album each and every time and ‘Persepolis’ is no exception. From cinematic to whimsical, battle rhythms to ballads, Tir covers all of the bases in this fabulous expedition set in ancient times. In addition to that, he incorporates elements of synthwave, percussion, and a guest artist to round out this project that makes it such a compelling listen. I highly recommend checking out ‘Persepolis’ from the link below.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Links:

https://tirofficial.bandcamp.com/album/persepolis

Pafund Exemplifies The Old School Dungeon Synth Sound With, ‘Forbandelsen’

I consider Pafund a Jack-Of-All-Trades Dungeon Synth artists. Whether it’s the pounding rhythms of Medieval battle hymns, the sultry sounds of Renaissance era synth arrangements or gothic undertones that provide a ghastly atmospheric presence, Pafund is the quintessential composer with a firm grasp on the genre as a whole. On latest release ‘Forbandelsen’, the musical fortitude has increased to an expounding radiance that shows why Pafund is the Keeper of the Stronghold. Teaming up with Voices Of The Ainur to produce a special edition “enhanced” cassette release, the lo-fi resonation of this masterful collection of tunes sounds as authentic as ever and is sure to take the listener back in time, on a journey of pugnacious quarrels and darkened skies.

Album opener, “Gammel Trolddom I” begins with an excerpt that literally sounds like someone is being thrown into the depths of an ancient dungeon. Suddenly, majestic keys begin to flow and attune to a melodic pattern that depicts an intense and austere disposition. Layers of haunting synths and background attenuations begin to conform to the bleakness of Medieval skies and the transformation to dark ancient times seem almost complete. “En Søgen Efter Ære” commences with a soothing string arrangement before bursting into a battle-like composition, complete with balanced percussion and layers of synth effects that encourage triumph and victory. Next up is the enchanting narrative, “Ruinernes Hvisken”. As one of the most cinematic tracks on the album, this one is overflowing with wondrous synth effects – expanding to genres beyond Dungeon Synth – while maintaining a solid foundation in Medieval-based compositions. The drums are particularly exciting, as they are upbeat throughout the track and have a strong presence in the mix. More along the lines of a forest synth track, “Visioner Af En Anden Fortid” opens with alluring keyboard affects and an ethereal backing synth that provides a solid foundation from start to finish. Maintaining a steady, celestial tone throughout, this track has a trance-like quality that is easy to get lost in. “Gammel Trolddom II” begins with a gloomy synth intro that builds into a bleak but tenacious intonation that has both synthwave and Neo-classical influences. It continues to build into obscurity and the drum parts seem to play a minor (but important) role this time around. “En Kamp Mod Forbandelsen” starts with a heavy drum pattern and airy synths before leading into a whimsical arrangement, showing even more of a musical diversity than ever before. After a few minutes the reverberations become more grandiose, as organ effects begin to play in unison with the mischievous keys. The track ends with a barrage of percussive patterns before finally falling silent. The final track on this ceremonious album is, “Hvor Klipperne Møder Havet”. Consisting of a funereal orchestral arrangement, this is a soothing and serene way to end an album that was – at times – aggressive and intense.

I’d like to take a few minute to talk about the immaculate cassette quality of this album. Released on the incredibly meticulous, Voices Of The Ainur label, this is one of the highest quality cassette releases I’ve ever seen. From the superb slip case, detail-oriented j-card, and the pro-labeled cassette with the artist name and song titles etched on it, this is as good as it gets. You’d be hard pressed to find quality like this in a cassette release – not only in the music, but with the physical material as well. It’s detail like this that makes Voices Of The Ainur stand out amongst the rest. An absolutely stunning job for this cassette and I highly recommend grabbing one of these gems as soon as they go on sale.

As for the music, ‘Forbandelsen’ is another spectacular Pafund album and I continue to be impressed as to how much effort goes into each release. Although, this is your typical lo-if Dungeon Synth recording, the production effort is by no means low quality. Everything is stellar about this album, from the writing, arrangements, instrumentation to the production and physical release elements. I highly recommend checking out ‘Forbandelsen’, so click on the links below and indulge in the cassette release as well as the digital download, you won’t regret it.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Links:

https://pafund.bandcamp.com/album/forbandelsen

https://voicesoftheainur.bandcamp.com/album/vota-012-forbandelsen-2

Gavella Glan Summons Medieval Forebodings On Dungeon Synth Debut, ‘A Silent Vigil For Oncoming Plagues’

One of my favorite sites to monitor for new and upcoming releases is the Noctilucant Bandcamp page. Creating some of my most cherished Dark Ambient and synth-based releases of the past few years, Joseph Mlodik has a knack for cultivating neural sounds through various projects such as Noctilucant, Sonic Oscillations and my personal favorite, House Of The Maker. Although these projects are firmly based in the realm of Dark Ambient, they each explore various audial modulations, broadening the spectrum for his magnificent releases. Earlier this year, the Noctilucant catalog (and sound scope) was aggrandized further with the release of his first-ever Dungeon Synth album, ‘A Silent Vigil For Oncoming Plagues’ under the moniker of Gavella Glan. Containing ten tracks of ambient based fantasy synth music, this album is a magnificent debut in a genre full of unlimited potential.

The ambient influences are apparent on enigmatic album opener, “The Calm Before The Storm”. There are plenty of field recordings and obscure soundscapes to propel the listener back to an ancient time, preparing them for the Medieval campaigns that lay ahead. Every so often, a dreamy synth lead will add a sense of peace and tranquility, as the sound effects continue to carry the story. Calmly leading into “Echoes Of The Past”, we’re greeted with lush vocals and synth harmonies that continue down the path of equanimity. As if that wasn’t serene enough, the soothing sounds of gentle waves crashing on a shoreline are added and maintain repose until the end of the track. The next song, “Beyond Hill And Dale”, is a relaxing, yet whimsical tune with random bits of distant laughter and a variety of instrumental effects. Although just a couple of minutes long, this is a beautiful piece that fits right in with the rest of the album. “The One Atop The Mountain” commences with a cracking fire and a soft ambient tone before fusing into a noble synth melody, suffused with layers of harmony and trance-like modulations. I love how the mild use of discordant notes change the atmosphere of this track and the spirit of this arrangement is one of my favorites on the album. “The Oxenfurt Drunk” begins with a quick narrative clip that is loud and crisp in the mix and if you’re not expecting it, you’ll probably jump at first listen. As the narration firmly belts out, “I’m here to talk about the contract”, you’ll be fully participating in the audial essence of the music that begins right after. From ambitious to whimsical, this track goes through several atmospheric changes and is a strong contender for the most cinematic track on the album. “A Story Night Of Arcane Hexes” starts with softly played synth leads and a hint of a strange commotion in the background. Key leads and haunting vocals are reminiscent of a horror movie soundtrack while a multitude of dangers lay ahead as the song is filled with evil sounds, firing blasts and obscure melodies that paint a bleak scene of destruction. “A Silent Vigil For Oncoming Plagues” dabbles in the synthwave arena while staying firmly planted in the cinematic Medieval Synth genre. Elongated synth leads combined with dark, oppressive soundscapes and field recordings provide an extremely textural composition with the occasional subtlety to keep it pertinent with the rest of the album. “Child Of The Elder Blood” is a dreamy arrangement that combines pastoral synth leads and melancholic drones. It’s as if you’re having an out-of-body experience and this track is maintaining a trajectory to propel you to another plane. This is an amazing piece and another one of my favorites. “The Path Of Warriors” is more on the lines of a traditional Dungeon Synth song with lo-if synth effects, combined with soft, flowing winds and a beautiful backing synth arrangement. From chirping birds, a warrior drawing his sword to an overall peaceful setting, this is another outstanding track and is sure to gain multiple listens. The final track on the album is the epic, “The Lord Of Undvik”. At almost eleven and a half minutes Lin length, it’s the longest track on the album and the most diverse. Beginning with the usual field recordings and soundscapes, an ominous drone carries forth in the background and flows persuasively from side to side, as it fuses into layers of ghastly synth leads and battle-like soundscapes, as if a deranged outcome was suddenly bestowed upon an unlikely kingdom. This haunting track concludes with devilish laughter and dark ambient-like drones and a perplexing end to this fantastical story.

I’m so glad that the Noctilucant mastermind decided to venture out and try his hand at Dungeon Synth. Not only is it a highly impressive album, but it showcases quite a story as well. There is adventure, cinematic music, a daring mix of genres and an entertainment value that will definitely keep this album in my play list for a long time to come. I highly recommend checking out this amazing album as well as all the other incredible albums on the Noctilucant Bandcamp page. Please click on the link below and download “A Silent Vigil For Oncoming Plagues “ by Gavella Glan.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Links:

https://noctilucant.bandcamp.com/album/a-silent-vigil-for-oncoming-plagues