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King of the Golden Hall is one of three reissues overseen by Out of Season showcasing the early work of fantasy ambient composer Jim Kirkwood. Kirkwood’s previous release, Master of Dragons (1991), was already a celebrated work, and now King of the Golden Hall (1991), Where Shadows Lie (1990), and Uruk-Hai (1992) are all pulled from the same era.  

Kirkwood’s work has already been celebrated in the dungeon synth community for being an early prototype for what would eventually become dungeon synth. Kirkwood, who had no connection with the ‘90’s black metal scene,captured the same at-home lo—fantasy synth which would eventually become revered in the current scene. In fact, Kirwood’s work forecasts more of what we would consider modern dungeon synth than some of the ‘90’s artists. Season’s tireless work in archiving early synth works for the contemporary community only strengthens our understanding of underground synth and builds bridges into the past. 

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If there is anything you can count on, it’s HDK putting out amazing stuff that is most likely sold out by the time you read about it. Lets see, as of writing, there are three remaining cassettes. It is not difficult to see why this label is so popular. Outside of releasing a wonderful melange of synth related genres, HDK are dedicated to mixing the hobbies of tabletop RPGs and synth music. HDK Adventurers Magazine # 2 is a compilation of four-tracks from MAANSKILD, GOBLINTH, XIII SCALE, and ROOK. These four artists contribute the soundtrack to four 1 page RPGs, written and designed by HDK. Each track is specifically written for the adventure, making the entire package an interesting marriage of gaming and synth music. 

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“Recommended for fans of old Conan paperbacks, ‘80’s and ‘90’s dark fantasy, and a VHS atmosphere.” Vikorra Doom is the second act on the Cryo Crypt label and leans into the dark fantasy aspect of dungeon synth. Actually, falling into a dark mire would be more accurate. While most of dungeon synth is vast with its sound, The Ghost from Sheol pays tribute to the classic sounds of ‘90’s releases as well as the early part of the dungeon synth revival with dirge like melodies which sound more like the footsteps of a jailer as they skulk through the dungeons. Recommended for fans of dungeon synth which underlines the dungeon aspect of the synth. 

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At this point in 2024, Fourthpeak have had three solid releases and growing support from the community. It is not hard to find reasons. From a well-produced sound to a style which is loved by others, Fourthpeaks’ take on winter synth is combined with album art from romantic painters. It is majestic and somber and entirely accessible. Icebound is the third release from the artist and first this year, marking the season of winter synth with music filled with grace and substance that is as hopeful as it is melancholic. 

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You might not know Cauldron80 by name, but you might have seen the name Wydraddear or, if you are super cool, then  ))o((, Baddoar, Bruine, Le Gris, lllllll, Mr. Hare, or Vermillion. All of these are aliases for a creator whose style ranges from the morose medieval music to comfy synth with rabbits on the cover. Cauldron80 is an agreement between different parties, and Ancient Gods a somber sounding chip synth which sounds like the title screen of a very esoteric computer game from 1992. 

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Both the artist name and the album titles come from the fantasy universe of The Witcher. Zireael is the name of Ciri’s Sword, with Brokilon being the name of a mythical forest inhabited by dryads and elves. Brokilon is the first release on the Arcane Chapel bandcamp, which seems to be a future place for more releases by the creator Ziri. A fantasy, ambient take on The Witcher is unique, but the way Zireael employs the sound is truly fascinating. Instead of an expected dark symphony, Brokilon is spectral with its melodies, which are more like ghosts than monsters. Zireael’s blend of lofi drone and spectral electronics is a treat for any who find themselves lost in the woods. 

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You know the feeling you get when everything is delightful? This is the atmosphere of Exit To Winter Plant by the “sure, whatever, let’s go” named Death Hags. Although the name of the act implies some sort of morose content, Exit to Winter Planet is a joyous celebration of bouncy, moog-inspired synth which calls upon many inspirations such as Wendy Carlos, Stereloab, and Air. Death Hags also employs a heavy holiday aesthetic into the mix, making the record nostalgic, sad, and hopefully all at once. It is certainly something that comes unexpectedly, but once it does, you are glad for its arrival. 

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If this cover at all seems odd, just head over to The Phantom Order Bandcamp and then start over in front of the beginning. Tyrannus is the name of the creator of The Phantom Order, a housing unit for lofi DS, noise, raw black, and witchy electronics. Most of the material on Phantom Order is Tyrannus-created, and Angel Prayer‘s one of the newest releases. I would tell you how many releases but since it is a bit obscure, Angel Prayer is close to the 20th release for this project. Taking in everything, Angel Prayers is a fascinating dive in the slipstream of lofi electronics. The witchhouse beats combined with processed vocals on the verge of torture gives the release a special aesthetic which is close to a haunted warehouse everyone tries to quickly walk by.  

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Of the Sullen Strait is one of two releases by Artgal in the month of January with the second,  Ode to Mairenn, released a few days after the first. Both releases are a part of a tribute to the great season of winter synth. Through droning soundscapes which combine both despondency and magic, Artgal manages to take a very familiar style and make it engaging through adroit execution. Of the Sullen Strait is the lighter of the two releases, with Ode to Mairenn being dedicated to “the sick, the hopeless, and the heartbroken.” Both releases are a strong opening statement from an artist who seems to understand winter at its very core. 

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“Sometimes Harry gets thrown into an alternative setting. Those albums are marked as “concept albums.” I absolutely love the declaration on the Bandcamp as if to keep the lore of Harry Hamster organized. If the crayon and marker collage on the front which looks like it is photographed on a third grader’s desk isn’t enough indication, The Legend of Harry Hamster (Concept album) is a whimsical adventure in the lands of comfy synth. Though simple and childlike, the world of Harry Hamster is spent in astute performance which sounds like a nickelodeon in some carnival of the bizarre. Though comfy synth can become the center of reductive jokes, I like to think of this music as what is playing in the heads of creators who have the world’s biggest imagination. 

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Dino synth and prehistoric synth are tags on Bandcamp with varying degrees of seriousness. If people are looking for fantasy synth specifically about dinosaurs, then I can’t not begrudge the enthusiasm. The Prehistoric Valley by Edwyn Brown is a concept about the full day in the life of dinosaurs in some mythical land of prehistoric wilderness. Though the creator has done work for tabletop RPGs and even has synth soundtracks based around their fantasy world, the prehistoric Valley is done for nothing other than the love of dinosaurs. 

The tracklist is set up to begin at morning and conclude at night, making this a full fledged dino concept album. Though everything sounds whimsical and joking, The Prehistoric Valley possessed some delightful progressive electronics for any fans of Tangerine Dream or other cosmic travelers. 

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Are the squares gone? Are we at the bottom of the digest article? Great. Time for some party music. Her Wonderworld Reversal Orchestra is a combination of dungeon synth (maybe) and epic collage (most certainly) with the latter being something you find after you travel far into the woods of experimental electronics. The album is a story or soundtrack most certainly not connected to anything on this plane of existence. 

Her Wonderworld Reversal Orchestra is the work of a U.S.-based creator who also does experimental music with a terminally online aesthetic. Hast Thou Brought Enough Fairies? Need More? OK! Is more fantasy based on the idea of fairies, which makes sense, since playful pixies would probably sound enchanting but also hellishly fragmented. This might not be for everyone and may only be for a few, but those few are going to be really into it.

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If I were to sum up big changes in dungeon synth in 2023, it would be the proliferation of live shows following the success of North East Dungeon Synth. This event showed many people that despite the genre being a bedroom solitary affair, it could be played in public and people would show up to listen. Throughout the year, I would see weekly advertisements for shows happening very far away from my feeds which would bring me bittersweet joy since I can’t go out to everyone. Some of these were in venues with addresses and others would be the ultra cool “DM 4 Address.” I feel the addition of live DS gives the genre another dimension to be experienced and proves the sound isn’t confined to one setting or should be one thing. 

Below is a list of 20 recorded albums I enjoyed. Many of these artists are the ones playing live while some are studio only artists. The variety of dungeon synth is vast and it’s amazing it isn’t just one thing anymore. Some choose to be a recorded only project. The actual list of records enjoyed would be closer to 50, but that isn’t helpful for anyone looking for new music. If I were to give a suggestion is start with #1 or #20 and just listen to everything. If I were to give a third suggestion is to listen to some of this music but also go to any show in your area that is listed as dungeon synth. I have a feeling the music both in the recorded and live sphere is going to continue to be interesting. 

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Honorable Mentions:

20 Treasure Seeker – Secret of Aiun (Independent, Sweden)

19.Covered Bridges – The Aurora (Phantom Lure, US)

18. Wands of the Minor Arcana –  Into the Gloaming Isle (Voices of the Ainur, Canada)

17. Deep Gnome – Wanderlore (Out of Season, US)

16. Humpe – Celestial Runner (Heimat Der Katastrophe, Italy)

15. Drifting Dots – Duskveiled (Independent, Ukraine)

14. Frostgard – Urul​ó​kë (Out of Season, Spain)

13. Hermit Knight –  Upon The Dawn of the Vermilion Glaive (Cosmic Ocean, US)

12. Thomas Ignatius – Thomas Ignatius (Independent, Finland)

11. Castlesiege – The Council of Trees (Dungeons Deep, US)

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Ithildin – Arda’s Herbarium: A Musical Guide to the Mystical Garden of Middle​​​​​​​​​​​​​​​​​​​​​​​-​​​​​​​​​​​​​​​​​​​​​​​Earth and Stranger Places – Vol. V

(Voices of the Ainur, Canada)

Taking on a project like this takes dedication. Ithildin has decided to illustrate, sonically, all of the flora in Middle Earth alphabetically based around the book Flora of Middle-Earth: Plants of J.R.R. Tolkien’s Legendarium by the botanist Water S Judd. We are at the Gs and Hs and this project could ostensibly last for quite some time. It is a massive undertaking many would understand if it was never complete but the same silently hopes for continual volumes.

Listen here.

Malfet – Dolorous Gard

(Dungeons Deep, US)

When I covered this for its release, I was genuinely ecstatic to listen to the new Maleft. At the North East Dungeon Siege, I was also excited to photograph the set. Since 2018, this artist has been wandering first paths uncovering musical ruins which are communed with as albums. Dolorous Gard is a castle and the listener is invited to delve into its interior. 

Listen here.

Flickers of the Fen – Stoned in Ginlenor

(Dungeons Deep, UK)

I feel the silent success of Flickers of the Fen comes from everyone’s deep and intrinsic desire to sit at home and play Old School Runescape all day. What seemed like fleeting novelty from logo to album title turned out to be a daring dungeon synth record with the perfect amount of irreverence and whimsy. I wrote about this on release and since then have been revisiting since I feel like I need some sort of cape from my adventures. 

Listen here.

Vaelastrasz – Reclaiming the Spectral Dawn

(Independent, US)

When I saw Vaelastrasz play at both North East Dungeon Siege and also in Washington DC a few months after, I was pleased at the lack of equipment during the performance. Armed with more costumes than equipment, Vaelastrasz conjures a world of wonder of minimal melodies which exude a sense of loss and resolute grief. Reclaiming the Spectral Dawn just released in November of this year and seemingly came out of nowhere. This seems par for course as Vaelastrasz remains dungeon synth’s court jester leaving magical presents and running away laughing in the night.  

Listen here.

Umbria – Homecomer

(Gondolin Records, Spain)

Umbria has always been a surprise and shock for those who discover the music. Ornate and regal, these melodies are the soundtrack to stories of comedy and tragedy told by a storied storyteller. I wrote a review for this album which was published in the Fantasy Audio Magazine Zine but I failed to mention the addition of the 2018 demo as bonus tracks to the Gondolin release. This is a wonderful coda to the album as it shows the scope of the artist and the lands they have traveled. 

Listen here.

Hole Dweller – With Dreams of Hereafter

(Dungeons Deep, US)

Hole Dweller could have rested on the laurels of the comfy masterpiece Flies the Coop  or the woozy vintage hi fi spectacle of Return To Roost both released in 2019. Instead, this US based artist has released a series of music which explores both styles either veering into comfy lofi or vintage progressive electronic. With Dreams of Hereafter is similar to the later with music which could be out of a BBC television special on fairies from the late 1970’s. Though this aesthetic might be extremely specific, it is one I have crafted so I can curl up and take a nap while the rain tinkles on the thick windows. 

Listen here.

L A N D S R A A D – Mark of the Worm

(Independent, UK)

Back in 2021, UK artist L A N D S R A A D (typed for aesthetic) released the Golden Path which marked the beginning of a project based around combining dungeon synth, space ambient, and the themes of the Dune book series. Mark of the Worm is the third release in that series and perhaps one of the most potent installments in the series. This is perhaps the music or the return to the simple J-card cover which evokes a sense of nostalgia and aesthetic brilliance. Whatever the case, this series music like its source material is at the precipice of the giant leap into the future.

Listen here.

Quest Master – Swords And Circuitry

(Urge Records, Australia)

“Fantasy Synthesizer Music.” I am sure Quest Master did not make their most recent release specifically to appeal to fans of new age and acid washed synth music of the 1980s but we are all here regardless.  Swords And Circuitry is not only a fantastic synth record but also embraces an area of proto DS which is continuing to be uncovered and interacted with. Quest Master also gets the award for best album name as a new future tech fantasy genre which I’m sure already comes with the best paperback covers.  

Listen here.

Dusklight – Enchantment & Serenity

(Windkey Tapes, US)

This spot is actually reserved for a label. While Dusklight’s Enchantment & Serenity is one of my favorite Windkey tapes this year, the entirety of this label is worth celebrating. Windkey Tapes is more of a studio for Evergreen (Fogweaver, Snowspire) to work out their projects most of the time solo but also through splits with other artists. All physical releases are limited and announced randomly through social media which are usually sold out by the time you get there. Windkey is perhaps one of the strongest torchbearers of the DS ideal embracing raw recordings and secretitive yet not exclusionary releases. For those interested in a longer profile on Windkey Tapes, the creator was nice enough to answer some of my questions.  For those who just want music for immersion, Dusklight is a hazy wonderland of opaque fog which forms spires in the distance.

Listen here.

Erang – A Blaze In Time

(Dungeons Deep, France)

Erang was my introduction to dungeon synth and through continual contact through interviews and album reviews, has been a sort of guide through the entire revival. I think I can say, with some degree of certainty,  I have seen this artist’s journey through the greater landscape of dungeon synth. Erang has always been reflective using interests engrained in childhood as characters in imaginary worlds. Each release is another chapter in a musical game of pretend play building upon the lore of an imaginary world.. A Blaze In Time is a bit different as it is a tribute to the real life figures and influences in real life. Through sometimes plain references and mysterious ones, A Blaze Through Time is a solemn journey which deals with loss, grief, joy, failure, happiness and, and disappointment. These emotions are played in slideshows which encapsulate a spectrum of feelings. Dungeon synth has an innate escapism built into its psyche and when artists step out of that sometimes it is a brilliant moment of clarity.

Listen here.

Urulókë (plural Urulóki) is the Quenya name of the fire-drakes, meaning “fire-serpent” or “fire-dragon”.

-Taken from Tolkien Gateway

I have talked at length about the releases of Spanish artist Frostgard. Most of the coverage has been a way not only to celebrate a fantastic artist in the community but also to talk about Tolkien as Frostgard’s entire career has been built on the lore of Middle Earth. Here is another chance! One of my favorite hobbies is listening to the new record and spending time on Tolkien Gateway looking at song and album titles. Urulókë, aside from being cool since it talks about dragons, is another chapter in this artist’s career paying tribute to old school dungeon synth not only in sound but also deep in spirit. Frostgard continues to be a person of interest in the scope of dungeon synth who make songs about cool things like dragons.

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The year 2020 felt like it was a century ago, and May 2020 was a time fraught with anxiety and tension. This might have felt like an odd time to revel in a blanket of medieval melodies, but Swedish artist Treasure Seeker released Quests for the Secrets Beyond Time in the spring of 2020 and has since been a moment of golden sunshine in an otherwise dark time. Secret of Aiun breaks a three-year silence with music that would fill smokey taverns bursting with bustling patrons. Treasure Seeker, much like its name, is a gem that seems to only operate irregularly, and for this moment I am content with music that will play for the next few years.

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“Wands of the Minor Arcana is the solo ambient project of Harman Burns. Her work is inspired by nature, folklore, the occult, and bodily transfiguration.”

Along with the ambient focused work of Burns, her work in Plasticine Cowboy also touches on electroacoustic and prepared instrument work which is both bizarre and delightful. Into the Gloaming Ilse is Burns’ foray into dungeon synth adjacent ambient and debut as the artist Wands of the Minor Arcana.  <i>Into the Gloaming Ilse</i> is a delightful pastiche of environmental ambient and VGM sounding melodies as if Hiroshi Yoshimura made the Stardew Valley soundtrack. 

Wands of The Minor Arcana is dedicated to a story, as Into the Gloaming Isle comes with a lengthy description about a place which could be a dream landscape or a campaign setting for future adventures. For an idea, a story, and a sound, Burns has exceeded the bar for intrigue, as this release is more than adequate for an opening introduction.

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Valen is the work of an artist who some know as Seregost. Along with this act who performed at the 2023 North East Dungeon Siege, Seregost is also behind acts such as The Night Keep, Throne of Anguish, and the operations of Obsidian Relic Records. Of Kings And Destiny was originally released in 2021 and presented a martial dungeon synth combined with bleak atmospheres which presented battlefields covered in horror and darkness. Gondolin Records reintroduces the world to this record along with Side A of a 2022 demo which was limited in its editions to six lathe cuts records. Gondolin continues to be one of the biggest archivists for dungeon synth, presenting tapes as if they were museum exhibits for the public to hear.

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“Hypnotic lo-fi techno. Esoteric electronics and magical realism.” Musician Evergreen Rupe continues to experiment on their private label Windkey Tapes and release things without advance notice. I have always enjoyed things which stray into new territory, and the world of lofi ambient techno is certainly a new direction. Though there are more percussive elements and a tribute to the ‘80’s and ‘90’s sounds which filled parties and clubs, the hazy ambience which has been a hallmark of Evergreens music is still present just adding a new wing onto an already elaborate mansion.
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HDK (Heimat der Katastrophe) has a long history with tabletop RPGs blurring the line between music and games and creating a hybrid between. The Lost City is the newest release by the entity GNOLL and dedicates itself to the classic module of the same name by famous creator Tom Moldvay. GNOLL’s release serves as an unofficial soundtrack to the module but realistically would be an official soundtrack if made in 1982. Both GNOLL and HDK continue to be dungeon synth’s most astute scholars when it comes to the subject of old school RPG material.
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There are many releases I could talk about regarding Weregnome Records. One could be the Shibuya-kei / power pop alchemy of Flower Ranger, the minimal stillness of Rhosgobel, or even the raw black ferocity of The Pale Stillness. Those are all wonderful as well as the cover with the Goblin and the title which mimics a very late installment on the Friday the 13th series. Retrogoblin are a party, and through their releases, they very much are on the side that are always laughing. Over this laughter, though, is an immersive landscape of chiptune which could be the soundtrack to a horror side scroller where ninjas pop out of manholes.

 
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You have probably seen a Coniferous Myst release on Bandcamp/in someone’s collection. It was probably monochrome artwork that looked like a tape cover just folded out and hastily cropped along with an unlabeled dubbed tape. Since 2022, Myst and the label Lost Armor have served as staging areas for various projects by the creator. Knight of The Wyvern Covenant IV is the newest offering from Lost Armor and continues to be a delightful mix of old-school dungeon synth with an emphasis on imperfections and decay. This is raw dungeon synth from a creator who is championing the sound.

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Genres: medieval ambient pop adventure synth comfy synth dungeon synth medieval music medieval synth neo medieval Helsinki. There are, of course, commas in there, but it is more fun without. I was sent this by the editors with a line saying “This is sure something.” It certainly is and I’m here for it. I do not know if the genre of avant-pop with a bedroom medieval tone to it is an aesthetic yet, but I sure hope it becomes one since this is intoxicating and delightful. 

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Even before this ambitious series, I was always excited for Ithildin. Out of nowhere, this Canadian artist released a magical debut A Long Expected Party and since then has been working on a giant project. Ithildin has been sonically illustrating the 2017 book “Flora of Middle-Earth: Plants of J.R.R. Tolkien’s Legendarium” by Walter and Graham Judd with each song an alphabetical list. In Volume 4, we get entries D through F. On social media, Ithildin admitted personal obstacles as recording was done in pieces with real life complications. I enjoy having backstory as the fourth installment of this series continues the magic, and even with real life obstacles, Ithilidn manages to channel what was described as a “chaotic” production into a serene landscape of magic and wonder.

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I remember one of the first Hole Dweller albums I listened to was 2020’s Return to Roost which displayed a brilliant vintage sound which could have been the soundtrack to a BBC television show from the 70’s. I still think of Hole Dweller as some sort of Time Lord who travels via magical means. While I of course enjoy the lo fi quality of earlier works and 2022’s Another Chance at Peace, there is something personally magnetic about woozy synths which sound like they are diffusing into star wipes. With Dreams of Hereafter
continues Hole Dweller’s presence as one of the key figures in dungeon synth’s history with a “comeback” album that is designed to be a landmark record.

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You Wake Up In A Crypt is a fundraising compilation organized by the community over at Melkor’s Dungeon. The compilation benefits writer Laird Barron, a contemporary creator of weird fiction and horror. This is the second charitable effort done by the discord with the first being You Meet In A Tavern… benefiting humanitarian aid in Ukraine. I have always enjoyed compilations, as they provide a snapshot of a time and place. You Wake Up In A Crypt features dozens of contemporary and active artists such as Aura Merlin, Hermit Kight, Ithildin, Heaven, Elyvilon as well as a handful of others who are just waiting to be discovered. Meklork’s Dungeon once again shows a community and organization which is not only altruistic but logistical in their execution of a fantastic compilation.

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Castlesiege is a fun addition into the world of dungeon synth, as this artist did not have some demo lead up to the debut rather like a phantom just appeared with a full length. You can thank the people over at Dungeons Deep for probably having tons of artists just ready to deploy when no one is looking. What is more remarkable is the level of quality from music which could be pulled from the greatest 32 bit RPGyou never played but would love to if you could. The Council of Trees is not only a stellar debut from an unknown artist but comes with a short little story which I am sure can be expanded upon in future installments. Unpause your game, and finish your quest.

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Twenty-twenty was a long time ago, but if anyone can remember back that far, you will remember the Comfy Synth Boom, which saw a lot of people inside (due to the pandemic) making comforting synth music. While comfy synth has had its share of praise and detractions due to its sudden rise in popularity, the genre has mellowed into a niche style of composers aiming for the comfy. Covered Bridges was one of the many albums released in 2020, and now, three years later, the followup sees the sound move from uniform comfy to carnival music played from a circus in dreamland. The Aurora not only shows an artist branching into worlds beyond but also shows comfy synth not as a flash in the pan but a serious foundation to a comfortable future.

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Aindulmedir has been championing the style of winter synth for years and much to the comedy of others, seems to exist outside of the dungeon synth world. Seriously, who is this person? This Swedish artist, outside of collaborating in dozens of ambient based projects, seems only concerned with making landmark synth records and then retreating back to some frozen castle to read tomes by a fire. Both The Lunar Lexicon (2019) and The Winter Scriptures were both highly praised by the community, and Star Lore seems to be aiming to complete a trilogy of understated magic. I bet you want this tape, but unfortunately it’s already unavailable.

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Everything was going to plan forQuestmaster with two previous releases celebrating dungeon synth’s most famous aesthetics. Twenty-twenty-three was supposed to be the year when the artist released a third album in the style of the other two with a name like “The Twelve _______.” They didn’t, and now what we are presented with is a fantastic marriage between dungeon synth, new age, and vaporwave aesthetics which has opened up my consciousness with crystals and psychedelics.

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I can remember first hearing Deep Gnome and making jokes regarding the Bandcamp picture of the artist dressed in a cape smoking weed in a forest which seemed to encapsulate the vibe of fantasy synth. What began as a gaff and a funny picture was quickly followed by a competent record and a string of quality releases. This one is no different. Wanderlore continues to add to the reputation of Deep Gnome as a stellar musician first and then close second a prankster pixie. May your mushrooms always be stolen by forest creatures.

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Cloistered Shadows has some strong old-school gaming vibes. This might lead you to believe the sound will also be old-school and moody rather than pixelated and moody. Desolation Tales & Tethered to a Mystic Realm is a double rerelease of the 2022 debut with an additional 2023 EP. Cloistered Shadows inhabit the realm of the room lit only by a black computer screen but also the far out world of Berlin School inspired synth. This is an impressive artist, and the double release by Dark Age Productions underlines the seminal work that is waiting for more discovery.

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My favorite song from Retrogoblin is “Six D-20s and a Bag Full of Shrooms” which is not just funny but rides on this vibe of psychedelic fantasy which powers this whole city known as Retrogoblin. This is chip synth in reverence to old CRPG and video games, and thus the majority of the music sounds as if it could be overworld music to a game that exists in your dreams. Retrogoblin also possesses a constant feeling of irreverence which is the compass for this project, as if they are going to show up to Thanksgiving tripping and in desperate need of orange juice. The latest Weregnome Records release is a reissue of the 2021 debut plus bonus tracks which is coming on special edition spatter vinyl since that is where we are in life. Also, if the artist is reading this, I was playing Destiny 2, and a player on the other team had the name Retrogoblin, so if that was you, I am glad we got to play Crucible together.

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Seamless

The release cycle for dungeon synth never really ends. While we all clean up the holiday and new year refuse that was left over after parties [Editor’s Note: Jonathan submitted this edition a while ago and we took our sweet time getting it out. Pretend it’s still January!], we are also confronted with the realization that music kept being released while we were all making charts with our end of the year picks. January reminds us that time is a construction and while we were celebrating, more music was being made during the month of December to the end of the year at midnight. Dungeon synth possesses no visible seams and the passage from MMXXII to MMXXIII is marked only by a new name. The change in dungeon synth comes from within and this year, by the first set of releases, and maybe some latecomers from 2022, this year already looks promising and full of wonder.

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At this point most are aware of the work of Erang. I have covered this artist in depth through most of my dungeon synth career and have come to use his work as a sundial to mark the passage of time. Already in 2022, Erang released a five tape series celebrating the many facets of dungeon synth and his career. On January 1st of 2023, the artist released A Blaze In Time, perhaps his most sentimental work in a career of nostalgia driven releases. Erang has always been reflective upon his own work as the entirety of the world of Erang is a private sketchbook that we are privy to read through releases. While some releases are based in his world, The Land of the five Seasons, others are constructed through emotion. A Blaze In Time is a reflection upon the passage of time and quite possibly a tribute to the people who have been lost in that time. Each track is dedicated to different aspects of Erang’s real life with tributes to family members and personal influences. I would be remiss not to mention the bittersweet nature of the record and the looming fragile emotions which are otherwise hidden by escapism. Erang has always been a dungeon synth’s mystical hermit who resides in a castle or cottage by himself. A Blaze In Timeis a powerful release which reminds all of us of the real people who make this music for all of us.

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Dreamspell Athenaeum was released in 2021 by the cryptic project known as Keys To Oneiria. Manby know this project as one of the many extensions operated by Evergreen (Fogweaver, Snowspire, and Fableglade Records). Dreamspell Athenaeum was the second release from Keys To Oneiria which never saw a proper tape release save for a 2022 compilation by Windkey Tapes. The Gondolin release sees a larger run of tapes which by now most certainly have sold out. Regardless if actual tapes for this project exist in the tangible sense, Keys To Oneiria has been one of my favorite projects of this creator as Dreamspell Athenaeum continues to wave the banner of haze and dreamlike warbling. The world of Keys To Oneiria harkens to the idea of mystery and intrigue and much to the dismay of fans, extremely limited windows of time for tape releases. Dreamspell Athenaeum is a shout into the mist with only the barest of outlines visible through the miraculous haze.

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Some might recognize the name Pafund from the Voices of the Anuir tape release of Forbandelsen in 2021. Even more niche listeners might be aware of Danish artists black metal releases from the late 2010s. Perhaps none of you are aware of the Orchid of Life, the title of the Gamebook adventure in issue 20 of Proteus Magazine published in England 1988. Because I just mentioned some weird esoteric RPG connection, some of you probably guessed that Heimat Der Katastrophe is behind the curtain as this Italian label pairs synth releases with immersive multimedia game projects. The Orchid of Life is the sixth release from Pafund, and is a full soundtrack to the out of print gamebook (solo interactive adventure). Outside of just talking about the history of gamebooks, Forbandelsen is perhaps one of the most magical and complete releases from Pafund. With an undercurrent of cold sorrow, The Orchid of Life combines droning synth with spells and rituals of another world. You can approach this release without all of the high dorkery of gamebook lore but what fun would that be?

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Since … well… 2022, the Indonesian project Silent Garden has made three demos along with a handful of other splits and rehearsals. Everything I just said regarding this project must be taken with the caveat that nothing is really known about Silent Garden and even things like “Rehearsals” might be conducted in an imaginary world. This is the world of mystical cottage dungeon synth where things are conducted in a half sleeping world of tea and gardens. Each of Silent Garden’s releases comes with hand drawn covers in vibrant colors which compliment the lofi cozy atmosphere of the music. Demos II & III is the tape release by Cosmic Ocean and collects the releases in the late Summer of 2022. To know the truth of Silent Garden might not be important as the world created by the music and mystery might be the intention. One might only need to sit in the drawing room of a sleepy Victorian mansion drinking tea while gazing upon open windows in late Spring.

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Grandma’s Cottage was foundational in the development and popularization of comfy synth. From aesthetic to sound, Grandma’s Cottage jarred people’s sense in the most delicate way possible, like gingerly throwing scones at people passing in the street. Favorite Places attempts to move past the seasonal holiday aesthetic with a tribute to the sounds and styles of RPG town music. With a large nod to the music of Stardew Valley, Harvest Moon, and Earthbound, Grandma’s Cottage becomes less decorated for the holidays and more a perennial abode of comfort which changes throughout the seasons. Favorite Places is a whimsical start to a proposed series of imaginary RPG town music and I hope this project blossoms into the most cozy of places.

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Pathworn Pilgrim enjoys the work of Elder Scrolls. One knows this by first looking at the cover for their newest release Bellows Of The Old Kingdom as The Seal of Akatosh has greeted players of Skyrim which is both the logo for the game as well as the waypoint for your compass. Even traveling back to the artist’s 2021 release, Beauty Of The Bitter Coast one sees a deep respect and worship for the video games. From covers of Morrowwind themes, to tracks named after esoteric features of Skyrim, Pathworn Pilgrim is an acolyte in the lore of The Elder Scrolls. Bellows Of The Old Kingdom continues to pay respect to the world not with any direct tribute but rather subtle nods. Songs like “From Rift to Reach” might even pass as general fantasy language but will spike the ears of fellow travelers among Tamriel.

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For the past three releases, German artist Tales Under The Oak has given us three visions of a mystic swamp where amphibians play sages on large lily pads. These releases have been amplified by cover art from Russian visual artist Vitaliy Ilyin whose style compliments the enchanted nature of the music. Together these two create bedtimes tales which are, much like traditional fairy stories, often mixing both magic and darkness. The Toad Folk was released late in 2022 and is now, along with previous material, seeing a tape and vinyl release by Dark Age Productions. This recent celebration of Tales Under The Oakis only fitting as this artist has been creating magical wonders which echo across the musical chatter of a swamp.

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In October of 2021, Swedish artist Ghoëst released Demo I. 17 demos later and we are here with a catalog of lofi dungeon synth to dive into. If I enjoy anything it is a symmetrical approach to artwork and for 18 releases, Ghoëst has never wavered from the hand-drawn crumpled paper aesthetic of each release. This attention to visual art synergies with the grimy aesthetic of the music as if one found this music lying in still water in some cellar. Ghoëst is crude, damp, and possibly sinister in its disposition which makes all of these a joy for anyone who really enjoys that type of thing. I really enjoy that type of thing. I know others do otherwise you wouldn’t be reading this far into a dungeon synth column.

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This is a compilation of material from black metal act Twilight Stronghold and dungeon synth act Vöghräth. Both acts are from the same creator, Lila Starless, who has lent their talents to… many other acts including Fog Kingdom, Hersenoire, Nightmare Ecstasy, Starlight Salvation, Twilight Stronghold, A Cold Winter Night, Château Spectral, DragonKeep, Filicophyta, Forest Mysteries, Forgotten Passage, Rituals Under the Blood Moon, Rotten Dungeon, Royaume des Brumes, Secret Corridor, Spectral Castle, Spectral Crypt, The IXth Key, and Winter Pathways. I only take so much room to list all of these as even in the dungeon synth realm, many names are familiar. Starless is a mysterious entity who up until this point has remained a specter among the raw black and dungeon synth scene. This compilation split illuminates these dark corridors and showcases the talents for both entities as the craft and care for these dark places becomes apparent.

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This is not really dungeon synth nor is it synthwave. This is lofi-retro-future-wave or anything that has taken off of this earth and set for the stars. Farcaster is an extension of Nicholas Wolff the creator behind the Desolation Plains project. If you previous releases were a few years ago, Desolation Plains made dungeon synth releases paired with interactive app based RPGs which came together with a gameboard tape sleeve. You would listen to tape while playing a game with figurines on the packaging. It was inventive and extraordinary and that same imagination lies at the heart of Brain Machine. Far from the fantasy of a medieval dungeon crawling the sound of spaceships, hyperdrives, and sword & planet adventures with the same lofi production. For anyone that enjoys old sci fi movies and wants to sleep in the stars, I have a record for you.

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Yes. This is exactly what it looks like. Weregnome Records is known for being a home for outlaws, miscreants, and anyone who likes breathing in weirdness for multiple hours. This is why I am here. Creatures is a split between artists Retrogolbin and Low Cunning and is a union of lofi chip synth and game music from games that were probably buried in the desert. The entire presentation of this split combined with the music gives an audience a sense of irreverence combined with an urge to stock up on potions since they are below 99. I am almost positive these two artists are not the same person but the tone of their jokes and the way they drink leftover beer makes me think its the same trickster god in disguise.

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Honorable Mentions:

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Erang – A Season of …

(Independent, France)

I had to link to something for the purposes of this article but in reality, the #10 spot is Erang‘s pentalogy of releases to celebrate his decade of making dungeon synth. The Seasons series was five micro releases all centered around an aspect of Erang’s dungeon synth work. This series became a kaleidoscope to which to not only view Erang’s work but the world of dungeon synth. Old School, Medieval, Computer RPG MIDI, New Age, and Experimental might sound like wildly different styles but in the context of dungeon synth, they are all a part of the same universe. Erang is a staple foundation to dungeon synth and this celebratory series codified him as one of the storytellers able to weave tales of both present and past.

Listen here.

L A N D S R A A D – Fate; The Inevitability Thereof

(Independent, UK)

I was excited for L A N D S R A A D‘s debut in 2021. The Golden Path which was entirely based around Frank Herbert’s Dune as both inspiration and aesthetic compass. Fate; The Inevitability Thereof, L A N D S R A A D’s followup and as expected uses the second novel in the Dune series to continue the musical journey of Berlin School based dungeon synth. Ambient and progressive synth is used in this record as cosmic and time exploration. The work of L A N D S R A A D underlines the importance of dungeon synth to be forward thinking and have their minds set in the future. Much like the protagonist of this album’s source material, Fate; The Inevitability Thereof dreams of the future which might or might not be influenced by narcotic spice.

Listen here.

Frostgard – Valaquenta II

(Weregnome Records, US)

Frostgard has had a great 2022. From late last year with the well received Valaquenta I to the most recent seasonal tribute The Last Letter of Winter, this US artist has traveled dungeon synth’s most well known roads. From Tolkien to Winter, the themes explored by Frostgard might not be the most novel, yet the execution feels new and exciting. This is perhaps a greater compliment as Frostgard’s music is judged among all of the other Tolkine themed dungeon synth which are in ready supply. Valaquenta II is the second edition in Frostgard’s tribute to Tolkien’s Silmarillion. To complement the biblical fantasy of high fantasy creation myths, Frostgard treats us to classic sounding dungeon synth which feel both heartfelt and sound professional. Valaquenta II should be combined with Valaquenta I in addition to the followup Tales from Nan Elmoth as a trilogy of Silmarillion based dungeon synth. Frostgard’s devotion to the world of deep Tolkien material is both fascinating and completely immersive in its design.

Listen here

Scrying Glass – Wyrmhole

(Dungeons Deep Records, US)

To really get a sense what Scrying Glass is about, it is imperative one goes back to 2021 and listen to the first chapter of this peyote paperback sci fi adventure. Scrying Glass’ debut Beyond Sight began in progressive electronic / Berlin School which unraveled as it took flight. Wrymhole, the natural followup, begins after the commercial break with the same ship now spreading alien-like wings and entering into technicolor vortexes. I love the weird and strange and Scrying Glass achieves at being weird but also approachable in their zany adventures. If one has a mind to continue the journey, 2022 also brought a fantastic split between the artist and Fen Walker, which surprisingly, is even more acid drenched than this album.

Listen here

Vaelastrasz – Winterspring

(Independent/Ancient Meadow Records, US)

Vaelastrasz has been around for many years and I was honestly surprised I didn’t hear about this record when it was first released. Perhaps these types of releases wait for one to find them. For many years, this US artist has carved out their castle with a moderate amount of attention save for the 2017/2018 Plagueland series. Winterspring, the most recent work from Vaelastrasz, is an ode to, perhaps expected, the season of winter. Outside of the immediate aesthetic choice to venerate the season, Vaelastrasz crafts a stunning tribute to old school dungeon synth which feel venerating yet not anchored to the time period. Both magical in its approach as well as mournful in its wake, Winterspring aches along its running time and casts the heavens in an eternal gray haze.

Listen here

Elminster – Standing At The Gates Of Night

(Ithildin Tape Production, US)

It was difficult to choose one Elminster record from 2022 since not only has this artist had eight releases but even within those series there is a distinct aesthetic series. Stranding At The Gates of Night was released in March of 2022 and began a parade of releases which used Romantic era paintings as artworks and had titles like Caern Mist, Grimoire of Old Lore, Kingsorrow, and The Sage of Shadowdale. These were all released in quick succession and perhaps to the surprise of few, they were all very very good. Elminster does many things and since last year has amassed a body of work which rivals others with longer careers. Elminster is but one name of a constellation of projects. Stranding At The Gates of Night and the subsequent romantic period is just that, a period before something else. I do not wish for any one style from this artist and am pleased to have found something that resonates through the year much like the tolling of a large bell.

Listen here

Moth Tower – Void Receiver

(Gondolin Records, Denmark)

While we certainly have artists who release multiple works throughout the year, we also have those who release one…if we are lucky. Moth Tower has a total of three albums which might be seen as light until taken into account the entirety of its creator Emil Sol Brahe. Brahe also commands the dark ambient project Sol but even that project was not enough to reach the vision of ghostly omnipresence. Moth Tower is an entity which sometimes visits this reality and leaves a spectral trail. I use all of the fantastic and phantasmic allusions since the work of Moth Tower is rife with the weird. Void Receiver is a call from an intradimesnion where its goblins and unknowable creatures come and put on a pageant of high strangeness. With the same spirit as vampiric synth and raw winter synth, Moth Tower manages to frame the weird in an orchestral presentation complete with a ghostly audience.

Listen here

Fogweaver – Labyrinthine

(Independent, US)

At this point in the article, I think I have indirectly mentioned the artist behind Fogweaver. If you have read any previous articles, I usually mention the numerous projects by Evergreen or their label, Fableglade Records, which releases fantastic music. Fogweaver’s 2020 release Spellwind was a foundational record for contemporary dungeon synth and perhaps will continue to be a new classic for future generations. If you are aware of Evergreen or follow them on social media, you will be aware of their immense adoration for Ursula K. Le Guin. Labyrinthine, music like its predecessor, is entirely based on part of Le Guin’s Earthsea series. Fogweaver’s use of Earthsea is a loadstar which guides the music and is ultimately used as not just music but an exercise in catharsis as the themes explored in the book are put into the exploratory sounds of dungeon synth. Fogweaver has always been unique and their continual work in all facets is a testament to the prolific possibilities of this genre.

Listen here

Ithildin – Arda’s Herbarium: A Musical Guide to the Mystical Garden of Middle​-​Earth and Stranger Places

(Voices of the Anuir, Canada)

I was debating whether or not to write about this artist’s most recent release which is a tribute album to Pink Floyd’s Piper at the Gates of Dawn, just in dungeon synth and about Hobbits. Go back to any one of my digests and I am probably talking Ithildin about one of the releases from the Arda’s Herbarium series. 2022 saw three releases from this series based around the book “Flora of Middle-Earth: Plants of J.R.R. Tolkien’s Legendarium.” The book is a 2017 botanical study detailing…well.. the flora of Middle Earth. Ithildin’s Arda’s Herbarium bases its contents on the ending chapters which list from A-Z, the plants of Middle Earth. From “Aeglos” (a white-flowered plant growing on the slopes of Amon Rûdh during the First Age) to “Cypress” (perhaps the inspiration for Two Trees of Valinor), Ithildin engages with each entry yielding unique and comforting dungeon synth. While this genre can lend itself to epic fancies with impossible heroes and surreal landscapes, a three tape series based around fictional plants is perhaps the most dungeon synth of subjects.

Listen here

Ulk – Restoration Magic

(Gondolin Records, Netherlands)

All Hail Turtle Magic. With the release of Restoration Magic, Ulk has successfully managed to release a lauded record about turtles and for the benefit of turtles. With each of the releases looking like a page in a scientific journal from the 19th century, Ulk uses old school dungeon synth and crafts a storyline about the fragility of nature and the ability to heal through caring. Restoration Magic, is a premiere dungeon synth record with each song a presentation of drama and allegory. If Ulk was a playable character in an RPG, they would be a druid / bard who weaves magical fables and impart the wisdom of coexistence. Each time Ulk releases a record through Gondolin I know two things. One is I will never secure a tape and the second is that it will be absolutely heartbreaking when I listen to it.

Listen here

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Dungeon Pitch

Oftentimes when people ask me what I write about, I say dungeon synth, knowing I’ll have to follow that statement up. It is times like this where I usually say “it’s a style of at-home fantasy ambient made for a small internet scene,” or if I am feeling funny (I’m not) “dorky synth music made for 100 people.” I have worked on this elevator pitch since starting writing to break up the amount of information presented. Dungeon synth is such a unique and odd genre of music that bringing up its relation to black metal, Berlin school ambient of the 70’s, noise music, video game music, and the fact it mostly deals in tapes might be too much for a person to handle. This isn’t to tout its complexity and shield information from the normal world; rather hobbies oftentimes have a tendency to travel so far into their own details.

It is easy to describe dungeon synth as “musicians in cloaks playing D&D music” since it is funny and gives newcomers a humor anchor to latch onto. This joke is also reductive and in the long term unhelpful for people trying to get into the genre. I have used that very line before when telling people about dungeon synth, so do not think I am judging others. There was also a novelty when approaching dungeon synth as cartoonish background music that wasn’t worthy of high regard. I feel my nearly ten years of researching the style has given me perspective I did not originally process. While there are certainly musicians who still wear cloaks, and many of those musicians play D&D and even make music for tabletop RPGs, the idea of dungeon synth as fantasy ambient makes much more sense.

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I have always recommended three records for people interested in dungeon synth. Depressive Silence‘s Depressive Silence II (1996), Erang‘s Another World Another Time (2013) and Fogweaver‘s Spellwind (2020). This does not encompass everything that has been made though, for me,these three present the most intriguing promises the genre could offer to newcomers. I am sure you can enjoy dungeon synth and absolutely despise these records (doubtful) but these three artists, from my experience this is enough as a welcome package into a world of wonder.I feel they cover the expanse of dungeon synth’s history and,to my great dismay, are three musicians who have appeared in cloaks in promo pictures.

Below, our usual digest of Dungeon Synth releases continues…

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The legacy of Mathew Davis is a story that is steeped in such wholesome attitudes that it makes me emotional even talking about it. Davis’s project Secret Stairways wouldn’t see most of its deserved praise after its creator passed away in 2011. Since that time, much time and effort has been put into restoring and releasing the 1997 debut Enchantment of the Ring and its 1999 followup Turning Point. Dungeons Deep has been pivotal in bringing the music of Secret Stairways onto media such as tape and vinyl. Turning Point, originally released on CDR with little attention, now sees a proper vinyl release in an era that the creator perhaps never could have imagined.

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It is difficult reviewing only one Elminster record since the artist behind this venture is connected to so many projects with so many releases, this digest could be filled up with the releases spanning in the last few months. With such prolific output, one would think the inaugural launch of a fantasy ambient series would be rushed and with little consequence. Elminster, once again, suprasses expectations. Kingsorrow is a staggering work of beauty and scope with moving melodies and lush atmospheres. The album cover, a work by Russian landscape painter Ivan Ivanovich Shishkin, captures the breadth of this work. Despite many more albums being released from this point, Kingsorrow is a work of great importance and something to mentally bookmark.

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I promise I am going to stop talking about this series. Maybe not. It has been a while since I was so taken with a series that I wait each couple of months for the newest release. The fact that each of the tapes from this project come with a slightly different shade of green is so delightful I can hardly keep myself from quietly gasping each month. Arda’s Herbarium: A Musical Guide to the Mystical Garden of Middle​​​​​-​​​​​Earth and Stranger Places – Vol. III is the third volume in a series by Canadian artist Ithildin and sets to music entries in the 2017 book “Flora of Middle-Earth.” Each entry is a short vignette dedicated to a plant and set to dreamy comfy synth that is so wholesome and surreal that it is almost impossible not to lose yourself in its joy.

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From 2017 to 2021, DIM released four records of shattering beauty. Compendium I to Compendium Reliquiae showed the artists ability to elaborate on a concept and make the entire series feel like an adventure. Steeped Sky, Stained Light sees DIM continuing to work moving into territories such as sacred music that baths itself in serene atmospheres. There is undoubtedly a religious component to this music which can be appreciated for its spiritual aspects as well as a secular experience. Steeped Sky, Stained Light is an adventure for anyone familiar with neoclassical darkwave and a mind to wander around cloistered halls passing others in deep reverence to silence.

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Gnoll began in 2018 with a debut called Citadel of Evil followed by perhaps the most apt title for all of this genre Music For Dungeons. Gnoll exists to create official / unofficial soundtracks for lesser known tabletop RPGs and has done so for systems like M​ö​rk Borg, Strange Magic, Dungeons, and Lone Wolf. Gnoll is the type of music that you know when you are so far into RPG acronyms that OSR, AD&D, B/X, and BECMI make sense. The Kiss of the Spider-God takes dungeon synth into the realm of 1980’s horror / sci fi movies with oozing synths and a strong feeling that things are not what they seem.

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Vanishing Amulet comes from the composer Withering Prince. This should be all you need to go on for a recommendation. One of the tags on Bandcamp calls this “Romantic Dungeon Synth” which to be honest is a perfect description for the old school worship of yesteryear. If one would compare it to the art movement the Pre-Raphaelites, there exists a similar longing and veneration for classical moods and figures. Nocturnal Heritage could have come out in 1997 and has all of the same aesthetic landmarks of a record that was sitting on a tape for decades. The fact that Vanishing Amulet can make this embrace history without being anchored to it is a feat of ingenuity and excitement.

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Aura Merlin follows in the snowy tracks of winter synth giants such as Jääportit and Jötgrimm. Winter synth is a strange substyle in an already micro style. It is more substantial than things like forest synth but still remains ephemeral for people just into the style. One does not need to know the solitary history of winter synth to approach 3 Swords with open snow chilled arms. Instead of the blankness of negative space, 3 Swords embraces a wintery fantasy realm with music that may be sparse but is still filled melodies which evoke the most magical of feelings.

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“Gralefrit is a new project from the creative force behind Borgo Pass and several death industrial and ambient projects from the 1990s, including Subklinik, Profane Grace, Draath, and many more.” Not only is that a great sales pitch but this tape comes from Ancient Meadow Records who have proven themselves to be knowledgeable in death industrial artists from the 90’s you probably never have heard of until now. Gralefrit, the debut venture for the project, is both sonorous and menacing in its execution being something that can both comfort and lurk in its existence.

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Abstractaeon is an Argentinian musician who, from the solitude of a cabin in the woods, makes music that can be considered dungeon synth only overgrown with dark folk melodies. Ignis Natura Renovatur Integra (all nature is renewed by fire) is a stunning meditation on the sorrows and joys of nature which has a creator playing music that makes sense to them rather than playing in a direct style. Sometimes it is nice to venture out and embrace music that isnt really a part of any style. Abstractaeon is not really dungeon synth but it may make sense to dungeon synth fans.

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I think one of my favorite parts of Lorespinner are the pixel graphics and the Bandcamp picture. Do not get me wrong, the glacial droning synth is sublime with its ability to push you beneath layers of ancient clouds but holy shit look at that pixel wizard. Lakeshrine is nothing less than a triumph in bedroom ambience that transcends productions and moves into shamanic storytelling. This demo / EP also comes with “a downloadable, system-agnostic tabletop RPG scenario, in which players can explore the Lakeshrine together.” I think I love this even more.

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Old School

Dungeon synth is the sound of the ancient crypt. The breath of the tomb, that can only be properly conveyed in music that is primitive, necro, lo-fi, forgotten, obscure, and ignored by all of mainstream society. When you listen to dungeon synth you are making a conscious choice to spend your time in a graveyard, to stare, by candle-light, into an obscure tome that holds subtle secrets about places that all sane men avoid

— Andrew Werdna (2011)

Andrew Werdna coined the term “dungeon synth” in 2011 as a new term that would describe a host of fantasy, medieval, and dark ambient acts that all worked towards the same thematic aesthetic. Dungeon synth was the name of both the original acts of the 90’s, side projects from black metal musicians, as well as the revival acts that operated in the early 2010’s. “Dungeon synth,” in its revival concept, has existed for more than a decade and shows little signs of waning. On a long enough timeline, what will be “old” to us versus what will be new?

The term “old school dungeon synth” has been used as a description for the sound of dungeon synth in the 1990’s. During the mid 2010’s, many modern acts played tribute to the sounds of this period, taking inspiration from acts like Mortiis, Burzum, and Depressive Silence. When different styles, such as more melodious and idyllic sounds became popular, “old school dungeon synth” was used as a dillenation between the sounds of the old and the new. This idea was in line with Wernda’s vision of “the sound of the ancient crypt.” Old school dungeon synth made sense as a style when there was modern dungeon synth and old school tribute. On a long enough timeline, however, the term old school will lose its meaning. What will be “old” in 2032 and 2052? What will dungeon synth history look like when it enters its twenty and thirty year anniversary?

It is my supposition and uneducated prediction that dungeon synth will develop in waves, similar to music like its black metal relative. Dungeon synth will have a first, second, and subsequent waves to delineate its progression of styles. What we know as old school dungeon synth or classic dungeon synth will be its first wave, which is the work of the artists who developed its sound but had yet to coin it as a style. The dungeon synth revival of the 2010’s will either be its second wave or third, depending if there is an excavation of the dark ambient releases in the 00’s. At this point, it is impossible to predict how the timeline will develop, but if one would like my unwelcome opinion, the global pandemic and subsequent boom of comfy synth in 2020 provides an easy juncture where dungeon synth became a plural community that was just as much about celebrating the old as it was at embracing the new.

We as humans take comfort in segmenting information and making it simplified. Music is full of timelines and simplified histories as we enjoy having one thing lead to another. I would love to write dungeon synth’s history and to catalog its styles which fits into ten year periods. History is often without clean edges and even something as niche as a fantasy ambient timeline will be ugly and unkempt. I know using the terms “First Wave DS,” and “Second Wave DS” now makes little sense, but perhaps on a long enough timeline it will be more utilitarian for us to classify information.

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We begin our roundup with the always reliable and never faltering Gondolin Records. Henbane is the project of Chris H, a musician also behind the Danish raw black metal act Seiðr. Grimyrk is the unofficial / tribute soundtrack to the 2022 fantasy novel of the same name. If I get anything wrong about this it is only I am navigating through Danish fantasy blogs trying to pick out information. Henbane by Grimyrk, however, is a bit more forthcoming as an unassuming lofi dungeon synth which perches upon solemn and lonely hills. Henbane, even without its roots in fantasy literature, is an immersive experience which sprawls through 11 tracks of absolute sadness. Gondolin’s history with Henbane dates back to the very beginning of the label with 2018’s Vildfaren Og Jagtet being the first release for the label. Grimyrk is the 5th release from Henbane and while initially released in 2021, finally makes its way to a tape release from Gondolin in 2022. I might not know everything related to the book that is attached to this record, but I can understand the beauty in loneliness which the music offers.

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In 2021, I praised Poseidonis, the debut from French act Arcanist. This release was a strong statement from a progressive electronic act which took dungeon synth and Berlin school synth and sent it sailing into the mystical ether. Hyperborea is based around the literary work of Clark Ashton Smith and very much like its thematic influence, exhibits some mind melting elements. While still adhering to the sound which surrounded their debut, Aracanist embraces doom and black metal elements making an alchemical solution that starts as dungeon synth but soon becomes something else entirely. The opening track “The White Sybil ” is a fantastic indication on the scope of the project leading from benign fantasy ambient into a metallic instrumental. If one thing can be said about this group is each of their records is a journey into uncharted territory where the rules of the old world no longer apply.

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2020 seems so long ago and a part of a different time. The Sleeping Sword was the debut for Runecaster and was my introduction to a project which always felt like it was going to eventually evolve. Despite the local punk rock / black metal show flyer aesthetics of its cover, Runecaster resides in a different world. The Temple Revealed is the third release for the project and more so than any other release, this is the one where things make the most sense. With dungeon synth as a starting point, Runecaster throws themselves into a world populated by the echoes of exotica, new age, Berlin school, and cosmic ambience to bring a truly unique take on at home fantasy synth. Though the cover may look like a black metal demo, inside the music is truly mind warping progressive synth that is unlike many things already heard. I have always supported the migration of dungeon synth into new lands as I feel it is habitable in other places. The Temple Revealedis a success story of what happens when dungeon synth settles in distant lands.

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Oh Dungeons Deep, what mysteries do you have for us today? Deep in the Dungeons Of The Dragonlord sounds like a Dungeons & Dragons module from the early 80’s but is in fact the debut from US based act Wrath Knight. Looking for information on the project brings up wiki pages for Warhammer40K which is probably as much information as you are going to be given. Wraith Knight is the work of OldNick (different than the GrimeStone Records artist) who has a resume of work in black metal as well as fantasy ambient. What is given in the absence of information is a lush and cinematic presentation which feels like a soundtrack to perhaps a tabletop RPG from the 1980’s. Through extensive tracks sometimes reaching into the 13 minute mark, Wraith Knight paints landscapes that are dramatic and breathtaking. From glittering packs or the blackest of shadows, the music for Deep In The Dungeons of the Dragonlord is an experience that takes its listener on an adventure.

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At present, the US act Dyvyná has three demos and one full length all released within a two week period between late June and early July of 2022. The total running time for all Dyvyná material is currently 1 hour and 38 minutes. Dyvyná is a fantasy synth project of Elminster who has so many projects that it would take up this entire review just to list them. What matches the impressive nature of the running time is the craft and care which comes from dungeon synth that are both lofi in production yet immersive in practice. Dreams Of Novgorod is the fourth demo from the artist and has the fewest yet longest running tracks of all previous material. At track lengths over 10 minutes, Dyvyná paints medieval landscapes which are both relevant to history and open to epic fantasy. I have always enjoyed Elminster’s material and Dyvyná is a project which succeeds in its aesthetic. With enough room to elaborate in its sound, Dreams Of Novgorod is the perfect entry for one interested in the slumbering dungeon synth. Both dreamlike and somber, Dyvyná is something for the history books.

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The world of Hole Dweller is one I would like to live with. If anyone was following the world of dungeon synth, they were aware of the departure and then soon return of US based act Hole Dweller. This small sabbatical is common among artists who oftentimes desire to live in fantasy realms but sometimes have to take respites in the real world. Another Chance At Peace is not just the first album from Hole Dweller in two years but a gleeful celebration of one of the moist influential artists of contemporary dungeon synth. Its raining melodies sound from worn horns and are a tapestry of hazy day drinking among forest folk. We have all seen the journey this artist has gone on from lofi idyllic synth to progressive electronic which sounds like it was pulled from BBC library music vaults. Another Chance At Peace is a regal feast played from the ancient halls of some kingdom very far away. I am glad to be invited to this celebration as I feel it will last for a while.

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I don’t know if anyone checked in on Serpent’s Sword in a while as the page for their releases has been cast in an eternal shroud of darkness. The catalog for this label is a constant struggle between brightly colored covers to ones that look like they were pulled from raw black metal crypts. The darkness has won over for now with a string of neoclassical and dark ambient releases including a debut from Orlok’s Mourning. At this point it is impossible to parse out the artist behind this project as it seems to be a dead branch apart of a larger and more ghastly tree. What is known is that A Black Incantation Cast Upon His Kingdom is an extravagant “old school dungeon synth” tribute which sets rich melodies loose in a world of vampires, bats, and abandoned castles bathed in moonlight. If one enjoys the mood and tone of this release, trust in the fact there is a library of similar sounding despair which lies inside the crypts of this label.

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Come with me to Ancient Egypt! Skhemty (Pschent) is “the headdress of the later Egyptian pharaohs formed of the two crowns worn by the respective pharaohs of Upper Egypt and Lower Egypt before the union of the country under one rule.” Skhemty is also the name of a French artist who also is behind the cosmic project Weress. Sunrise on the old Kingdom is a fantasy project embracing the exotic locale of Ancient Egypt as it exists in most imaginations. The music of ancient Egypt has, for the longest time, been a source point for mystical reconstructions and because of the lack of actual musical source material, what exists is creative estimations. Sunrise on the old Kingdom is another creative estimation, though the artist is more interested in the fantasy of the region rather than musical history. Skhemty joins the traditional sounds of Middle Eastern music with a dungeon synth backdrop taking the fantasy of ancient Egypt and making something entirely new. While one can get caught up in the cultural implications of a project like this, Skhemty approaches this subject matter as others have approached medieval Europe and taken partial truths and partial fiction to create an entertaining and immersive experience.

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Leaking Crypt is from Japan and I do not know how it appeared in my collection. From the sounds of its ghostly tones, I am going to assume this release has always been a part of my collection like the end of some horror film. Both デモ一 (“Demo 1”) and デモ二 (“Demo 2”) are incredibly short presentations of comfy / ghostly synth which border on the sweet, sublime, and supernatural. Beneath the veneer of sweet melodies which sound like they are being played by a grandmother from an electric piano is a sense of surreal unease. Being immersed in this release brings more questions without answers. Why is this project called “Leaking Crypt”? Why does the logo look like it is a raw black metal act? Is this project really from Japan? Who is playing the piano right now if my Grandmother has been buried for 10 years?

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To begin with the important things first, Siege Golem is perhaps the best name in current memory and I laugh each time I hear it. Enter The Golem is ludicrous, even approaching the levels of sublime. A crude mixture of dungeon synth, raw black metal, and the Castlevania OST which somehow opts to be spooky rather than horrid. This is not a specter which haunts your very existence rather a ghoul who is serenading you by the moonlight. Enter The Golem is absurd and I can not think of a better sound which makes me laugh each time I hear its name.

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“In memory of the explored pixelated dungeons”

–Cauldron 80 (2021)

In another life, I spent a considerable amount of time with video game music–specifically rock and electronic tribute bands who would play renditions or remixes of video game songs. Many of these acts played video game conventions, where there was a focus on nostalgic entertainment for the attendees. This genre of tribute music has been tagged as chiptune for electronic and referred to as Nintendocore for the rock variety (though that name has never been used even as a joke). The artists in this nebula would play music in medium size video game conventions as well as warehouse concerts and bar shows. Before the advent of reliable streaming services like Bandcamp, much of this music existed on file sharing networks and through purchased CDs that were acquired through merch tables at conventions. It was a scene of people that were not only heavily involved in the tribute of video games but also expressing it in the noisiest and sometimes the most DIY way possible.

In small side rooms of upscale convention halls, guitarists would play video game riffs over top of drum machines while projections of Nintendo games would scroll on screens behind them. This was not only a celebration of interests but it was a crude ritual that would not be the same as just playing official soundtracks. It had to be loud, it had to be rough, and it most of all had to be exciting. In the small crowds you would hear people call out requests and then ecstatic cheering when a familiar tune would be belted out of very loud and oftentimes broken amps. The time and energy I put into this scene of music is probably why I made an effort to earmark certain dungeon synth bands that carried the same sense of love and chaos when it came to expressing themselves through games from the past.

Dungeon Chip or Dungeon Chiptune is dungeon synth that utilizes chiptune–a style of synthesized electronic music made by using the programmable sound generator chips or synthesizers in vintage arcade machines, computers, and video game consoles. Chiptune has a long, winding history and, much like Dungeon Rap, Dungeon Chip is the extension of a niche sound within the world of an even more niche style. Dungeon chip participants are small and its history only seems to cover a few sporadic years. Dungeon Chip is the waystation between the nostalgic tribute of chiptune and the fantastical escapism of dungeon synth.

Dungeon synth’s history is entwined with the concept of games. This relationship between dungeon synth and tabletop games shares a vision of fantasy with active agency. This is not just an artist and listener experiencing a realm of fantasy but one where they are the one making choices and experiencing the world. Much of the early acts in dungeon synth’s history were dedicated to the general realm of fantasy. Later, during dungeon synth’s revival in the 2010’s, tabletop and videogames would be more incorporated and celebrated. The combination of video games and dungeon synth would not fully be realized for another few years but its precedents can be heard in some of its early innovators.

At the dawn of the dungeon synth revival in the 2010’s, bedroom musicians were blossoming out of genres like neoclassical, medieval, and dark ambient. This was a time when streaming platforms (like Bandcamp) and MP3 download services (like MEGAUPLOAD) allowed the dissemination of music without the need of a record label. It also propelled ideas as quick as an internet connection would allow. Dungeon synth was born out of this primordial soup and some of its earliest creators were trying many things. While still archiving the original sound of dark dungeon music in the 1990’s heard in acts like Mortiis and Depressive Silence, the early creators of dungeon synth revival paid tribute to the other influences — perhaps inspirations which resided on the same computer they used to make their music.

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Abandoned Places

Abandoned Places was a US act which operated from 2011 to 2015. The project was originally planned as an eight album cycle and through its short lifespan existed as a dying star. During the early to mid 2010’s, few if any knew the connection between Abandoned Places and other dungeon synth projects like Erdstall and Mystic Towers. Even fewer knew the connection between these dungeon synth acts and the experimental black metal act Jute Gyte. The early albums from Abandoned Places were mired in dark ambient but possessed a sound that triggered specific memories from fans. Bandcamp user Simon Gold wrote for 2012’s With the Dead, in the Language of the Dead:

“Get your old copy of Ultima Underworld out or crack open LOTR and stick this on. Crunchy low-ends like claws on bone, drones and bells hanging in the air like an echo you might’ve imagined from the murk behind you.”

When discussing the work of Abandoned Places, its creator Adam Kalmbach, revealed that “Abandoned Places was inspired by DOS RPGs and their soundtracks, and the FM synth timbres of old Sound Blaster sound cards and the Sega Genesis. The atmosphere of the game Daggerfall, with its endless wasteland overworld and impossible dream-space underworld, was particularly important to the idea of Abandoned Places.” Kalmbach was forthcoming when asked about Abandoned Places and its history with video games. When asked about other projects such as Mystic Towers and the 2012 release Inner Kingdoms, Kalmbach continued that “Mystic Towers was inspired by text-based games and the type-in games published in old computing magazines. The album art is similar to the generic black and white illustrations often used in those magazines and the color palette is borrowed from QBasic. The sounds used in Mystic Towers are sampled from 1980s toy keyboards. ”

Abandoned Places never felt in full tribute to dungeon crawling computer games. Each of the covers for each of the releases was morose minimal artwork rather than some facsimile of a computer game. The sound for Kalmbach’s work was not playful nor was it a novelty intended to elicit smiles. There was no warm machine of nostalgia present in any of the work, rather an engine of dread. If there was any reference to the past from Abandoned Places it was buried under the weight of soil and despair. Kalmbach would underscore this distant connection between dungeon synth and video games by concluding that “Aside from fantasy aesthetics, I think what connects dungeon synth with old CRPGs is their betweenness, the felt distance between the work and what it represents, and the imaginative leap required from the person who experiences the work, which is a kind of longing that I think nourishes the spirit.”

This liminal space between the work and what it represents is one of the most interesting aspects about music made in tribute or music inspired by the things of the past. It is not a direct retelling nor is distantly influenced. Abandoned Places, and what would eventually become dungeon chip exists between the things it represents but is initially operating in its own unique world. While this world is small, it is still thriving with flourishing ideas and rich history.

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Synth Bard

One of my first experiences with the sound of video games within a dungeon synth template was through Synth Bard. This US artist has dedicated their work to the tribute of video and tabletop games through the synthesized sounds of past media. Gold Box Renditions was the 2015 debut by Synth Bard set as a homage to a series of Dungeons and Dragons computer games produced by SSI from 1988 to 1992. This was a dungeon synth record in tribute to a video game presented in a classical electronic tribute. It was a sound that was closer to the work of composer Wendy Carlos than sounded like nothing that was being produced at the time. The level of production from Synth Bard’s debut is still impressive and stands as an essential album not only to dungeon synth but also to whatever style is most fitting.

When asked about The Gold Box Renditions and its relationship to chiptune, Synth Bard’s creator said “I can see how it could be considered chiptune, but I never thought of it that way. From what I understand, a big part of chiptune is that it’s produced with a digital sound chip. The Gold Box album was created all on analog synthesizers.” Synth Bard highlighted further work with his 2017 release Ravenloft – The Unofficial Soundtrack saying “for me the Ravenloft album was actually more of a chiptune album, since it was created on a couple Proteus units, which were featured on tons of video games from the 90s.”

Synth Bard would be an important, if not slightly overlooked, work in the field of game tribute. From 2015 to 2021, this project would make unofficial and interactive soundtracks to Dungeons and Dragons modules such as the aforementioned Ravenloft but also Beyond the Crystal Cave and Isle of Dread. Much of Synth Bard’s work pulls from the past but asks its listener to be active in nostalgia.. When asked about the concept of nostalgia, Synth Bard said “I don’t think my intent was to evoke nostalgia, but it was probably a motivator. I actually started the Gold Box album because I wanted to get better at transcribing music by ear, and thought those themes wouldn’t be too difficult to transcribe, because the tones were pretty clear. But why did I choose those songs in particular? Probably because I had such great memories playing the games. I’m a big CRPG fan. I think the first ones I got into were the SSI games in the early 1990s – Dark Sun, Ravenloft, Menzoberranzan, those games. Then after those I went back and explored the older Gold Box and Eye of the Beholder series. What interests me the most are musical projects that involve sonic world building – like trying to create a whole mood and environment just from sound. I’m also intrigued by music that has a use value outside of just listening to it –stuff that is made specifically to supplement other activities, like gaming, learning, meditating, whatever. So the Synth Bard albums are really at the center of that Venn Diagram.

Both Synth Bard and Abandoned Places underscores the variety when it comes to video games within the realm of dungeon synth. The influence and desire to revisit the sounds of the past comes not just through tribute but through reference and ultimate synthesis with something new. While both artists would reference and be influenced by video games of the past, dungeon chip did not enter into the conversation until the mid to late 2010’s. Since Dungeon synth is an internet genre with many of its community connected through social media, many of its artists and fans could be seen on forums discussing the music and the potential future of sound. In these forums one can see nascent genres taking shape by way of creators brainstorming and sharing experimental notes.

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Garvalf / Digre

During its revival, Dungeon Synth lived on social media and forums. Whether Facebook, Reddit, fan made blogs, or unaffiliated forums, the heart of the genre is connected through the internet. Here, artists and fans promoted music, archived history, and discussed the future of the sound. This was a crucible of experimentation which led to artists hearing a new sound, trying it for themselves and then recording a record, putting it on Bandcamp and then linking it on social media. This cycle of inspiration and mimicry led to small waves of sound that would perpetuate itself. A small wave of dungeon chip would be heard in 2018 but before that, a few artists would meet and discuss their music on these forums.

The manifesto on the bottom of the 2015 release by French artist Garvalf was very clear in its declaration of a style: “Louder than Death Metal, rawer than Black Metal, darker than Chiptune, here is the One Myth album, composed entirely for Sinclair ZX Spectrum beeper.” This statement was a deliberate combination of dungeon synth and chiptune made with intent in mind to mimic the sound of early video games. Though almost entirely lost to history, Garvalf and their early work was very vocal in its intent to combine the two genres even though many if not any were doing the same thing. “I’ve started music by creating metal,” Garvalf recalls “by combining synth and guitars which was quite natural and un-original at that time. I have a solid background and interest in black metal music. I discovered GoatTracker around 2003 or 2005 and I’ve started to compose music with it. Since it was difficult for me at that time to work with guitars, it was easier to use a tracker, and I was also much attracted to the SID Chip sound (Commodore 64). So in the 2000s I was really going toward the direction of ancient music + chiptune at that moment.”

Garvalf would continue illuminating his early work with dungeon synth and chiptune in 2000’s by discussing the creation of his website: “We created in the past several tunes in the medieval / renaissance mood. They were composed on real instruments and / or synths. We’ve just transcribed some of them using trackers software, longing for the sound we heard on computers from our childhood.” When asked about the inspirations for this early experiments, Garvalf recalls “I was much inspired by the black metal intros and mood of that time, or even artists which defined the DS genre later (such as Summoning, Burzum, Mortiis), but some Atari ST, Amiga or Amstrad games had also such inspiring sounds, back from the 1989 era, with Stormlord, Iron Lord, Les voyageurs du Temps, Shadow of the Beast, Targhan, Heroes of the Lance, Powermonger, Ultima IV, and Wizardry (from 1985, composed by Graham Jarvis & Rob Hartshorne)”

Garvalf still maintains the website from 2003 which houses many dungeon synth and chiptune streams which are a testament to not only an internet that is no longer used but also the nascent dungeon synth sound before its revival in the 2010s. One Myth’s release in 2015 might have been the first release shared with a greater audience but the combination of chipsounds and the primordial beginnings of dungeon synth can be still streamed on this website.

At around the same time as One Myth was another artist running in the same weird circles. I remember listening to and reading reactions to Digre‘s Martyryxan at the time of its release. While dungeon synth was settling and dealing with identity issues of how traditional or how experimental it wanted to be, here was a Swedish artist who not only composed music to sound like 1980’s computer games but devoted everything to spiritual worship. Dungeon synth, while not an anti spiritual genre, has more overlap with black metal’s interest in the occult and esoteric topics than with the liturgical history of early Christianity. Digre would go against many grains and would go on to create many records from 2017-2019 all in the same template of pixelated worship music.

When asked about the process of creation and interest in chip music, Digre’s creator recalled “I got the impulse of concept while reading an online magazine called Archaic Triad, who focused on, among other things, dungeon and chiptune. My intent was to use retro-sounding chip styled methods to convey the atmosphere and feeling I got from dungeon music. I started making Martyryxan with a computer program claiming to use the sound of the Game Boy but it was actually only a tracker with samples. The tracks made with this program were very rough and intransigent but not really proper or legitimate. I then got into using Famitracker which very authentically is used to compose NES and Famicon music. Tracks with this program can be directly transferred to a NES cartridge to be played directly on the Entertainment System or extracted as wav-files. For me it was important for the sounds to be authentic to the old game systems of my youth without sounding like an imitation video games music. Imitation, parody and mockery are most boring and I despise it. Joyful inspiration and creative theft on the other hand are the melody of my success. Making dungeon imitating video game music or even video game music imitating dungeon is probably what I do but I like to think I evolved something other than else.”

Martyryxan‘s embrace of early video game sounds but the quest to marry it with something else is a sentiment seen in the other artists. Though spiritual chip could be an odd gimmick, most of Digre’s music and drive to create lay within a deep foundation of musical and technological understanding. When asked about the more technical aspects of noise and music, Digre illuminated “this was not my intent but a result of me wanting the untampered sound of the old systems who are often harsh. There is no sinus in the Nintendo. Only square and triangle, Two squares and one triangle channels. And a noise one. And some kind of sample channel that I never used. There is amplitude control and even envelope that can be used to make the sounds softer around the edges but it still sounds pretty abrasive if focused on. The punitive aspect of sound is for those who can’t dig it. I grew up with music sounding like this. The difference is that we used to listen to game music on feeble television speakers and now with the headphones it sounds sharper. My intent was to have the nostalgic sound because I thinks it is awesome but most chiptune emphasize on drum rhythm and I like it better when melody is in focus. ”

Digre’s music, much like other artists discussed, remains important as well as overlooked in the history of dungeon synth. When asked about the larger scene of dungeon chip musicians Digre recalled ” early on I found Moaning Shadows along with loads of Dungeon in general and was very thrilled about it. There was nothing unique with what I was doing other than the Christian theme. There was no multitude of chiptune styled dungeon synth back then and the few that acted active all had their very own sounds. I very much enjoyed Elric and Moaning Shadows both and was happy to be communicating with Garvalf who was well versed in technically pure chip music. I am not sure when it happened but suddenly there was a manifold of Chiptune Dungeon (or Nintendo-DS as I like to call it) along with an even greater cascade of dungeon of less deviating styles. I am convinced that Digre would not have been noticed at all if it was released today along with the numerous other daily newcomers. A few years back most new projects had some kind of uniqueness and individuality and even if this is still happening there are even more projects mainly doing plagiarism. More or less. A new brilliant dungeon act may today be conceived as just another snake cult.

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Elric / Basic Dungeon / Kobold

2017 would see the release of not only Digre’s debut, but also key components which would bring a wave of artists experimenting with the sound. Though English artist Elric would release their debut, Elric of Melniboné, in January of 2017, it would not be until a few months later when included in the Bandcamp article “A Guide Through the Darkened Passages of Dungeon Synth” that this release would see greater attention. From the writer Robert Newsome:

“It’s safe to say that fantasy literature and role-playing games (the tabletop and the video variety) loom large in the world of Dungeon Synth, and Elric expertly combines both of them. Inspired by the chiptune soundtracks of games like Chrono Trigger and Secret of Mana as well as (obviously) the fantasy novels of Michael Moorcock, Elric’s music is the perfect soundtrack to crawling through (16-bit) alcoves, searching for abandoned potions and treasure while trying to avoid the hungry ghouls hidden in the shadows.”

It is unclear how much this article propelled the sound of dungeon chip into greater consciousness but the article’s placement on Bandcap’s website would bring the sound to a much wider and confused audience. The article would spur debate and discussion from the dungeon synth community about its newfound and relative popularity in the mainstream. Among this chaos and strife among social media scenes dungeon synth kept on experimenting with splinter styles such as dungeon noise as well as a lo-fi dungeon chip style. Similar to Elric, other artists combined a chip sound with an aesthetic of old computer and tabletop RPGs. Though the majority of these records would exhibit the same raw production and visual aesthetics, there was a series of records by Italian label Heimat Der Katastrophe (HDK) which opened a new chapter in what dungeon chip could be.

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HDK is a label with an extensive back catalog. This collective is a group of Italian artists who pull together a variety of vintage obscura to add to a variety of synth. The creators of HDK are behind both projects Kobold and Basic Dungeon but the actual details lay beneath a veil of secrecy and artistic misinformation. When pressed on the question of both projects, the creators relented that “Kobold is a tribute to the early editions of Dungeons & Dragons, which we used to play as children during the 1980s. This little humanoid with only 4 hit points composes music inspired by the first 8/16 bit home-computers or coin-ops but there is a very particular selection of sounds that in the various albums has remained essentially the same.”

Both projects for HDK were designed to venerate games of the past. Much like the majority of HDK’s catalog, these releases were quasi interactive intended to pull the listener into an immersive world. When asked about the source material for inspiration for both the Kobold and Basic Dungeon projects, the creators revealed “A lot of attention during the creation of a Kobold album is paid to the stories – real scripts for OSR modules – to the arrangements and description of the specific situations of the adventure, trying to faithfully link music & texts with all the steps and twists, while maintaining a structure of the classically pop songs (verse / chorus). Instead Basic Dungeon is a specific tribute to the first – heroic! – videogames era where a few pixels and a couple of “beep-beeps” were enough to let the imagination travel! In Basic Dungeon there is also some research, almost “philological”, on sounds: we used real sounds taken from old computers & consoles such as MSX, Commodore 16, Spectrum, Colecovision, Videopac and much more. Both projects look to the past but try to mix the elements to create a new synthesis.”

Both the Basic Dungeon and Kobold releases would be well received and their tape editions sold out on the Bandcamp within days of its release. Further releases would come in 2018 which saw the most of dungeon chips output. HDK provided a high point of artistic care when it came to dungeon chip since the majority of the style reveled in minimal abrasion, both Basic Dungeon and Kobold would come with more polished production and also well designed tape covers. This artistic watermark gives a spectrum of sound and style that all artists used as a playground in the years to follow.

When putting together this article, I was amazed at not only the scope of the genre but also the willingness of its creators to reflect upon their work. The story of dungeon chip continues in 2018 with a string of releases from January to December of 2018. This wave of dungeon chip was inspired from everything that came before it but seemed to fall in line with each other . Whether inspired by each other or just pulling from the same inspirational pool, these 2018 releases make up the largest collection of dungeon chip. The story of these records and the thoughts from their creators will be told at another time. What is known at this moment is the love for the past but the desire to live in the future is shared among all who took up the mantle of dungeon chip. These artists were not blind followers recreating memories rather taking them and forging them into something new. Dungeon synth continues to be a fascinating genre which houses many secrets that we still seem to be unlocking.