Naïve Magic: The Best Dungeon Synth of 2022 (Thus Far)
The Best Lists of All Time
I do not like making absolute lists. At the end of the year when I have to put albums in a numerical order, I dislike the finality of it. Even in a genre like dungeon synth where I feel I have a grasp of its scope, I can not be relied upon to speak for the entity of its sound. I do not even trust my own judgment at times. This is why lists as an objective assessment are near impossible. Whenever writing my own lists or approaching others, I take them as tools or leads in my own discovery. This discovery might even lead to different judgments which I feel are more valuable than things put in one-through-ten order. A list of the best dungeon synth of 2022 made in June isn’t a final judgment on the output of an entire genre, rather things found noteworthy. This list also may be for my own use as these are the releases that I found interesting and could possibly revisit at the end of the year.
This below list consists of things I have written before in my digests and also ones I have not. These releases may make it to the end of the year and some may not. I feel what is important is that even if they do not, that never takes away from their value if other people enjoy them. There are many great things in a small genre like dungeon synth as its releases feel intimate and genuine. I would like to think of this list as dungeon synth that brought me enjoyment throughout the first half of 2022. If I could give this a proper title, it would be along the lines of “Interesting Dungeon Synth Releases of 2022 (in no particular order that in no way constitutes everything I enjoyed this year).”
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…Ulk‘s work has been phenomenal but it was from 2020 and on when it became sublime. While 2019’s Ulk and Ulk II showcase a Medieval serenity, the release of 2020’s The Divine Shelter and 2021’s Shellbound anchored the sound in sorrowful ambience. Ulk’s music can be thought of as the meeting point between some of the most popular aspects of dungeon synth by both being reverent to the old school masters as well as nodding to fantasy soundtracks which feel pulled from another world. Restoration Magic continues this trend with a lengthy mediation in the same world of calm and solitude which further entrenches the artist as one of the more noteworthy composers of the contemporary era. While I mentioned previous works as being crucial for listening, Restoration Magic instantly provides a gateway for anyone willing to step into a garden of healing and meditation. Having any one of Ulk’s records is important and even at this point mandatory for listening to dungeon synth. While it may be hard for me to decide which one, Restoration Magic might be as good as any.
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It’s strange to think Ithildin released their debut A Long-Expected Party just last year. Since that time, this Canadian artist has released records as surprises with little to no announcement before a new tape arrives. Arda’s Hermarium is the first release in a lengthy metaseries devoted to the book of the same name which methodically goes over the flora of Middle Earth. To align with the book’s attention to detail, Ithildin has resigned themselves to making music for every entry and attempting to capture, sonically, a portrait of the subject. This whimsical gallery of plant life is delightful and codifies the essence of dungeon synth as an escapist’s tool which allows the artist and listener to embrace whatever imaginative fancy they chose to. As of writing, two volumes in this series have been released with no indication how many or when it will end. The uncertainty is part of the charm.
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I knew that if I wanted until the very last day before my deadline, there would be something good to write about. Dungeons Deep is known for releasing quality material and one can just wait for its cart to roll around the hill to have something unexpected. Spellbound Mire is the debut from an Australian artist of the same name who seems to have just been viewing everything that is cool and hip in the world of dungeon synth before strategically releasing a debut. From sight to sound to general presence, Spellbound Mire parades as lofi dungeon synth / new age but underneath the naive costume is running a competent production. This debut tells the tale often seen in dungeon synth where relatively unknown artists can release something and amaze a large audience. Spellbound Mire is a dedication to the history of dungeon synth seemingly pulling together decades of sound into one record. Perhaps it is the ambience of the swamp or perhaps it is the magic that seems to rise in the air and dance around like nighttime creatures which makes this so good. Perhaps it is the magic of the unknown which instantly draws one in. Perhaps we will never know.
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Erreth-Akbe has the distinction of being the first release in the Fableglade season tape series. Erreth-Akbe was apart of a very special DS moment in 2020 with their music being in the style of dungeon synth but with some dramatic extensions into folk and medieval ambient. Since 2020, the world for Erreth-Akbe has shifted and those differences have become more dramatic leading to a third release which resides in a world of its own. A Lantern Swathed feels timeless in its approach to bedroom synth which at times feels like a symphony being conducted by a company of one. The variety of sounds and track lengths is near cinematic with a 16 minute centerpiece which acts as the record’s main act. Erreth-Akbe hasn’t just created an intriguing dungeon synth record for 2022 but rather unassumingly pushed the range of sound into new territories leading to one of the most engaging records in recent memory.
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One of the most interesting and ongoing series from this scene is the Dungeon Synth Magazine (DSM) series from Italian label HDK (Heimat Der Katastrophe) . The DSM, presented as a fantasy gaming periodical, showcases original compositions made by famous and unknown contributors. Each song takes up half half a tape side (14-15 minutes) and is pitched as a sort of story. The tape comes with a miniature book presenting each story celebrating the tradition of pulp fiction. With the series now in its seventh volume, the seventh issue sees new tracks from Fogweaver and Unsheathed Glory along with two mysterious artists . The other two entries for the magazine are US project Bluebear Tapes (Apparition of the Plains) and Topografia, which represents HDKs love for the fringe and esoteric. While Apparition of the Plains combines the comfy with the unsettling with the track “The March on the Breach,”, Topografia pays tribute to the kosmische Musik roots of dungeon synth with a meditation in the stars. The DSM and HDK continues to be a wellspring of new talent and fantastic stories which by all accounts carries the legacy of old science fiction magazines just in underground synth music.
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Frostgard‘s Valaquenta II is the first release for 2022 though one could think of their debut Valaquenta as being a part of this year seeing it was released late in December 2021. It is also easy to think about Valaquenta as a whole being it is a two volume medication on Tolkien lore paying tribute to creation myths detailed in The Silmarillion. Frostgard’s choice for subject matter is not entirely unique nor is their embrace of old school dungeon synth for a sound.Valaquenta, and ultimately Frostgard, succeeds not through novelty but through a solid understanding of atmosphere and sound. The rolling landscapes of mood and tone built deep within these two releases sprawl into ornate kingdoms of both wonder and sorrow. Very much like its source material there is a rich foundation which may not be immediately apparent but entrenches itself into one’s understanding. Both these releases will see a tape release on Weregnome Records and Frostgard saw a performance on the streamed North East Dungeon Skirmish. All of this excitement around these two releases and this artist is well deserved as there is something magical which is woven into the fabric of this music.
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It is hard to travel anywhere in dungeon synth without talking about Erang. Many times have I interviewed and featured this artist on the various sites and to be honest my friendship with Erang is almost as long as my relationship with dungeon synth. In my last interview, there was a mention of a sort of new project to commentrate ten years of working within the genre. I did not realize it would come so soon and with this many volumes. The Seasons Pentalogy is a five part dedication to the fantasy world created by Erang which covers the different aspects and sounds of dungeon synth. From the old school (A Season of Frost) to the atmospheric black (A Season of Leaves) to the new age (A Season of Sand) to the idyllic tavern melodies (A Season of Bloom) to finally the experimental (A Season of Magic), Erang has taken stock of everything he has done and constructed a museum. The Seasons Pentalogy is a monument to dungeon synth and very much like the artist’s work is an entirely intimate assessment on milestones within a personal history. Each of the sides is a portrait into the artist’s world which has been cultivated over the past ten years. It is an ambitious project which acts as a musical autobiography.
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If you ever met me in person or spent time with me on the internet, you would come to know my love for the weird and strange. I fell in love with dungeon synth for its flagrant disregard for the rules as it was born out of black metal musicians being weird dorks. While I love most all sounds the dungeon synth produces, I can’t help myself from getting excited with the strange. I wrote much praise for Scrying Glass‘ 2021 debut Beyond Sight, which took a dungeon synth, installed a progressive combustible engine and sent the whole thing into outer space. Wyrmhole continues this escapade by following the intrepid crew as they cross into dimensional space. Scrying Glass a sound which further flies into the far reaches of space with a sound which is bizarre, raucous, and entirely infectious. Channeling the spirits of Mort Garrison, Wendy Carlos, and Bo Hannson, Scrying Glass is dungeon synth in the year 2022 but imagined by someone in 1925. Wyrmhole throws whatever they have lying on the alchemy table into a bubbling pot including the Spelljammer campaign book. What is created is a far flung acid trip where everyone has swords but they are on a ship sailing across the cosmic ocean.
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Alkilith has always been charming since this artist seems like they would be making this type of music even if dungeon synth never existed. I remember getting the first tape for 2020’s Tales of The Wandering Mage and remarking about its serene solitude. Alkilith creates dungeon synth that were meant to be enjoyed in years of contemplative quiet. Raw and lofi dungeon synth is an acquired aesthetic which showcases the minimal and bedroom qualities of the style. Alkilith seems born for this style and commands their magic from the top of an overgrown tower. Dracolich of The Gray Waste sees the artist continue their journey in the fantasy worlds with track titles that become increasingly descriptive. “Dracolich of The Gray Waste,” “The Final Gloom of Hades Pluton Part II,” and “Lurking beneath Infinity of Hades” are fitting for horror pulp titles and highlights the artist’s imaginative escape into other worlds. This is the world where Alkilith resides–out in the space of nothingness is great drama being unfolded silently for an audience of one.
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I honestly have no idea what Rusty Pilgrim is but it is delightful. If I was going to take a guess it is the work of an Argentinian artist who operates under different projects all hosted on the same tape / zine label. Deionarra is one of those projects and The Green Trilogy is a collection of three demos(?) by the artist released in the first half of 2022. I wrote about the first release Woodland Gatherings in one of my digests and was shocked and delighted to see two more which make up this 53 minute compilation. Part of the pleasure listening to Deionarra and the rest of Rusty Pilgrim’s roster is frankly not knowing what is going on and being entertained by a cast of costumed characters all in masks. The journey of three Deionarra demos is a psychedelic wonderland of lofi dungeon synth which begs the listener to eat mushrooms and wander in an overgrown garden for the afternoon. I can not think of a better way to spend my time than this hazy wonderland.
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