INTERVIEW: Torchlight

Haunting Dreams for Dying Kings

Torchlight first surfaced with the excellent Realms of Oblivion; a record that means a great deal to me due to its refreshing and mystical character. After emerging out of nowhere, the project has already graced us with a total of five releases. Its latest, Haunting Dreams for Dying Kings, was released on Bandcamp on the 17th of September this year. The time has come for us to sit down with this anonymous torchbearer, to find out if we can shed a light on his marvelous project.

Castles, ruins and other artifacts of an older civilization are richly scattered throughout the beautiful and diverse landscapes of Italy. With Torchlight hailing from Salerno, a port city just south-east of Naples - and very close to the green and mystical Valle delle Ferriere - I’m rather curious towards the way your local environment influences your music.

Yes, I live in a small town near Salerno, in a valley where almost every high elevation has a castle, a ruin or a hermitage. Every town in Campania (the region where Salerno is located) is rich in history, monuments, and mysterious charm. The place where I live certainly influenced my way of making music. Mountains are my dearest childhood friends and visiting abandoned castles, ruins covered with ivy, woods with stream and, tunnels of leaves and branches take my mind into the realms of imagination. I love solitude, and often I walk through these places, leaving everything behind, just to be alone with myself, to meditate.
 

I am lucky to live in such a place, remaining such strong roots with a distant past.
 A curiosity: the last album, Haunting Dreams ..., should have been called I was born between the ruins. It would have had other songs, another style, and another cover, fully dedicated to my native place. When I discovered that there already are albums with a similar name, I decided to postpone the project.

Your description of the environment sounds like a dream and - above all - very inspirational! I’d love to see a Torchlight record dedicated, both sonically and visually, to this rich and exciting area. Speaking of inspirational environments: Is there a national - or even local - Dungeon Synth community that you are aware of?

No, nothing at all, neither national nor local. Despite the affinity of places with the DS genre, I feel like a white fly in Italy. This genre is known to very few people here. The only communities with which I maintain contact and interact are the groups on Facebook, where there are people from all over the world who listen to this particular type of music. What to say ... sometimes even modernity has its positive sides!



Do you think that this absence of a physical scene could also be seen as a constructive element? For example: does this “solitude” evoke a certain character that couldn’t be achieved otherwise?

Good question! Probably yes, this solitude also has its positive sides since I have no pressure or external influences on making music. Torchlight could never have been a band or even a duo-project; its expressiveness comes from a single soul and must not compromise with anything or anyone. Creating with Torchlight is not a job and I only record when I’m inspired and when I have something clear in mind (or something that is becoming clear).

I listen to many Dungeon Synth albums a week, but there are times when I completely leave the genre, to return a few months later with renewed passion and with new ears. You need to follow your heart if you don't want your music to fall into the banality of "doing it because you have to do it". Probably a nearby DS community would unconsciously influence my way of doing, listening, recording, and the Torchlight project would not be the same as it is today.

There seems to be a gentle transformation going on throughout your music. Every album has its own character while maintaining a very specific “Torchlightean” sound. Is there an overarching theme to the project? Something conceptual that ties the entire project together?

Musically, Torchlight moves between fantasy, ambient music, and orchestral darkwave. I always try to keep an inner coherence between these two poles. 
Ideologically, I think that what holds the albums together, beyond the appeal for the past, is an attempt for psychological introspection through the symbols of myth. For example, The long quest is a search for knowledge about ourselves and the world, the quest of our "raison d'être" through the senses (many songs are about natural elements), and the track that closes the work is "Depths of unknown ". This means that the last truth about ourselves will always remain an unexplored mystery (and another curiosity, this cd was initially thought of as a search for gold by dwarves, but more or less the concept remained the same). 
Even Witchcraft, although to a lesser extent, hides psychological research, this time not of knowledge but of domination of nature’s forces through magic and witchcraft. Also, Realms of Oblivion and Haunting Dreams for the Dying King have their own ideology. 
However, this more conceptual approach should not distract from what is the core of Dungeon Synth music, which is the sense of mystery, wonder, terror and attraction to the unknown, nature, castles, ruins and the whole medieval imagery. Finding these themes in an album is worth more than any psychological or philosophical concept, however profound it may be. We are making music, not philosophy.

As a creator, how do you preserve this sense of mystery wonder, terror and attraction when you’re in the process of continually improving your craft?



I have always been attracted by the charm of the unknown, the thrill of fear, the irrational and the supernatural. It is not difficult for me to preserve this tension towards these things, because I am also made of these things and these things are me. I make no effort to create songs that evoke mystery and terror because my musical vein has these innate propulsion. I would never be able to create happy songs because it really isn't in my style and I wouldn't know how to do it. For me, music is a medium to transcend reality, and the passage must always be somehow painful and uncertain: in a sense, to pass the bridge that divides reality from the imagination, we must seek the death of the ego anchored to space and time, and this is never an easy thing. 
When I need inspiration I just need to watch a movie, read a book, take a walk, look at some pictures and my mind fills with ideas. Making music is only rationalizing the feeling of sublime that is stirred up within. I consider this a gift, no doubt, that I share only with those who can understand it because they too bear this gift, the ability to carry the “torch” and see everything in its “light”.

With Torchlight being a very, but not too productive project, would it be wrong of me to suspect even more material is in the making already?

I can't reveal much but I've already got a pretty long album that will be an RPG game soundtrack. Also, probably by the end of the year, the cassettes of both Haunting Dreams ... and Witchcraft will be produced, and perhaps a reprint of all the previous albums. Maybe also some co-operations. 
I’m planning to record a new EP shortly and I have many ideas for many albums.

Wonderful! My curiosity is fueled! Thank you for your time and very descriptive answers. The final words are all yours.

When I met the DS environment I was fascinated by the passion of all those who produced and listened to this music. I believe that within us there is a common language that we share, and it is not just a musical taste, because we understand each other despite the distance. This is beautiful because it feels as if we’re part of something ancient and profound, like a team, an army struggling to preserve the beauty of this world.
 We have never stopped dreaming and flying in the realms of fantasy. Surely, you know what I'm talking about. DS music has no lyrics, so what it wants to express is not caged by alphabetic language. The music speaks and allows us to meet in the realms of imagination. Long live Dungeon Synth!

Torchlight on Bandcamp | Torchlight on Facebook

Isenfeldt - Hall of Kings

Self-released, 2016

All harmony, all wondrous fairness
Aloof from passions and the world.
She rests with tranquil unawareness
In her triumphant beauty furled.

It’s quite common for me to refer to Dungeon Synth as bombastic, atmospheric, quirky, trance-inducing, lo-fi, or use other useful terms that describe the sounds that I’m hearing. Very rarely though, the first thing that pops into my mind is beautiful.

Now, this might be because this descriptor feels a bit obvious. When you’re enthusiastic about something, there’s a big chance that you’ve found a sense of beauty within it. Skipping its notion feels almost necessary to actually get to the point that you’re trying to get across.
I’d like to make an exception when it comes to Isenfeldt’s Hall of Kings.

It’s beautiful.

Right. There you have it! Plain as day! Isenfeldt delivers a soothing, folksy type of Dungeon Synth/ Medieval Folk that occasionally showcases a rather intrepid character. It’s carefully layered with a broad variety of instruments, of which the harp plays the most dominant role, bringing forth delightful melodies while it dances around its accompanying plucked-, percussive- and wind instruments.

Hall of Kings is a record that shines because of its subtle complexity. Never does it catch us off-guard or overwhelm us with an awful lot of notes. Instead, it enhances its rather typical sound with the sparse use of polyrhythms, texture changes, and organic-sounding passages.
I'd suggest you'd give it a go! Also, if you have any recent information about this project, do feel free to contact me. They seem to be active again on VK, but my Russian isn't very applaudable - to say the least.

TL;DR: прекрасный

Isenfeldt on Bandcamp

Isenfeldt, 2019

Vetus Supulcrum - From The Land Of Shadows

Kapmes Records, 2019

"We must face the long dark of Moria. Be on your guard. There are older and fouler things than Orcs, in the deep places of the world."

What’s so lovely about Dungeon Synth from the Netherlands, is how it covers quite a thematic region. You have your edgy, basement-dwelling, blackened thematics, you have forefather-honoring dreamscapes, there are playful releases about curious turtles and - of course - there’s Vetus Supulcrum, delivering its unique combination of serenity and bombast.

Vetus Supulcrum has been around since February 2019 and steadily released quality material in a short timeframe. Some of you might know its creator, M. de Jong, through his other works. Gnaw Their Tongues has had a kvlt-following for years now and - my personal favorite - Seirom has attracted a much broader audience with its soothing ambient/drone-like releases. It feels good to have such a seasoned musician enter the scene - and it suffices to say that From The Land Of Shadows delivers the quality you might expect.

M. de Jong

If there’s one word for this record, it would be rich. Not only because of its diversity, but mainly because of its sonic spectrum. Every track has a very, very dense production in which multiple layers of sound expose themselves to the listener. Even during those moments in which the bombast has taken a backseat, we are still left with very full-produced synths that fill up the entire room. And yes, one really has to applaud the depth of Vetus Supulcrum’s drums, for they feel as if they’re recorded in the Mines of Moria themselves.

Compositionally we’re treated to a broad display of instruments, voices, and atmospheres, making the record a rather adventurous one. Instead of confronting us with some monotonous navel-gazing, Vetus Supulcrum takes the listener by the hand to show what this Land Of Shadows is precisely made of. And let’s be honest. It’s wonderful.

TL;DR: Highly recommended.
A rich cinematographic experience to explore at one's own risk.

Vetus Supulcrum on Bandcamp | Vetus Spulcrum on Facebook

Corrupted Temple of Moss - ...Ancient Magicks Uttered by the Winds and Streams

Atrocity Altar, 2019

"Oh, no!  
A storm again! 
You played the ocarina again, 
didn't you?!"

We’ve been dreaming for far too long, leaving us vulnerable and unprepared. It is time to wake up and get a move on - and what better way to do so than with Corrupted Temple of Moss’s  ...Ancient Magicks Uttered by the Winds and Streams?

From the get-go, this short EP hits us with an intrusive attitude. There’s a panic in the dungeon and amidst the hassle we’re accompanied by an alarming waltz. Distorted synths unleash high-energy melodies, only taking down a notch halfway through for us listeners to catch up again.

What’s fascinating about this release is the way it plays out its dynamics. Starting off quite alarming, then falsely suggesting a moment of serenity, hitting full-speed again, including some unexpected but very well-fitting black metal vocals and concluding - somehow - by tumbling down a more familiar path.

I'm curious to find out what the future has in store for us. Corrupted Temple of Moss seems to have quite a wild character that I'd love to hear more of. Until then I'll just keep hitting repeat.

TL;DR: A solid 11-minute ride, because of course it is.

Corrupted Temple of Moss on Bandcamp

Earthencloak - Pipe Smoke and Faery Magick

Self-released, 2019

"Eat Earth!
Dig Deep!
Drink Water!
Go to sleep!"

In a landscape that’s crowded with muscular knights, fierce dragons, sharp swords, vicious trolls, and damp dungeons, the bravest thing one can do, is to appear vulnerable and caring. Earthencloack does just that with its sophomore record Pipe Smoke and Faery Magick.

Right from the start, we are invited to lighter territory. Comfortable melodies make us feel at home - and there’s nothing left to do but surrender to one of the most wholesome sounding experiences to’ve come forth from this genre.

Now, one could just leave it at that. Pipe Smoke and Faery Magick is gentle, comfortable and at times even childish. For some of us though, there might be a bittersweet undertone to the record; hidden slightly behind what’s given at face value. After all: everything is a dungeon if you dig deep enough.

Having grown up watching The World of David the Gnome on television, I vividly remember how the final episode covers the passing of David and his wife Lisa. As a kid, it was quite devastating to see these creatures - who’ve been such a joy to experience - suddenly disappear from existence. What strikes me about Pipe Smoke, is that the further the record evolves, small touches of melancholia seem to find their way through the cracks, foreboding an end that creeps closer every minute. Whether this is intentional or just a fabrication of my over-imaginative mind will probably remain a mystery, but I’m quite sure some of you will understand what I’m talking about.

Despite its best efforts to make us feel comfortable, Pipe Smoke and Faery Magick subtly reminds us of the unavoidable passing of all that is gentle - and the importance of the time we’ve been given.

TL;DR: And honey stained his moustache gold.
A light-hearted gem.

Earthencloak on Bandcamp | Earthencloack on Facebook

Vandalorum - Flagellum Dei

Self-released, 2019

"I, too, made treasure-cities smoke,
And blood with ashes mixed therein;
And from the sky, on sleeping folk,
Mine engines did full vengeance win!"

To be innovative, is to take risks. Some of them will be rewarding. Some of them will be punishing. On paper one might be sceptical about specific musical tropes Vandalorum exposes throughout Flagellum Dei. Throat Singing, rock drums and techno-esque arpeggio’s are not considered to be must-haves within more conventional Dungeon Synth circles. Yet, in practice, one might be surprised by how well Flagellum Dei manages to pull it all off.

To me, picturing Dungeon Synth that’s inspired by the Huns and their barbaric warfare includes a form of bombast. I can easily imagine grandiose war drums and clashing battle-sounds while thinking of music that focuses on Attila's troops and their quest to best Rome. Surprisingly though, none of that is to be found in Vandalorum’s music (apart from a very brief battle sample on the second track). Instead, the record creeps, softly; only to lash out at you with an unexpected twist, rather than delivering a constant punch in the gut. This balance between a more familiar atmosphere and some very well-placed curve-balls is one of the record's biggest strengths; and thematically o so fitting.

When one dares to oppose a stronger power, one needs to be as cunning as one needs to be unpredictable. The Huns knew this when they opposed Rome - and Vandalorum knew this when it unleashed Flagellum Dei on our ears.

I, for one, welcome our new Eurasian overlords.

TL;DR: As atmospheric as it is surprising.
Flagellum Dei captures the feeling of losing your balance amidst a familiar landscape.

Vandalorum on Bandcamp | Vandalorum on Facebook

Guild Of Lore - Storm Haven

Self-released, 2019

With no time to waste
I tied the boat rope to my belt
and dove headfirst into the choppy waters
of the Sunless Sea.

There are records that immediately communicate whether or not you did the right thing by picking them up. They have their ways of signaling that, yes, this is where you want to be right now. That this is, indeed, what you want to be doing. Storm Haven is one of them.

Guild Of Lore’s latest effort is, as you might have guessed, partly about stormy havens. It’s in the name, it is found on the perfectly fitting cover art and there’s a strong representation of this conveyed scenery within the music. Waves are crashing, port bells ring, we hear the cracking of boats and the falling of rain on open water. It’s very common for these types of samples to feel like filler material; uninspired and unnecessary. Here though, they beautifully complement the compositions and overall instruments, since Storm Haven’s music, like the weather and surroundings it often portrays, is moody, firm and proud.

Limited edition cassette release

There’s a lot to unpack here. Nearly 50 minutes of diverse songwriting, in which lutes, steel strings, and warm synths accompany the listener throughout a world Guild Of Lore so carefully crafted. A rapid pace runs through the music. Never hasty, but encouraging to tag along, and with some perfectly timed resting points throughout.

Guild of Lore understands that a story, no matter how exciting, needs to leave space for the listeners to catch their breath, gather their thoughts and regain their energy to fully dive back in again. The result of this is a record that is not very unlike the nautical landscape it’s referring to. Like a wave, it dances, tumbles over itself, dwindles, restores and finally reaches shore.

Even though the music clearly speaks for itself, I would highly recommend anyone to read the actual lore that is available on Guild Of Lore’s Facebook page. The tales surrounding Master Ingsmith strongly enhance the music and vice versa. It is also this degree of dedicational world-building that makes Guild Of Lore such a unique and easy to love entity.

TL;DR: Advanced storytelling through music.
The perfect soundtrack for your upcoming campaign - or dreamy evening.

Guild Of Lore on Bandcamp | Guild Of Lore on Facebook

INTERVIEW: Dr(o)))ned Artworks

Grim Fortress

Dungeon Synth seems to be one of those genres in which the aesthetics are almost as important as the music. Being mainly a non-vocal style of music, musicians rely heavily on album-titles, track names and artwork to further lift their tunes to a higher level of understanding. One of the visual artists that captures Dungeon Synth’s excitative character is Waclaw Traier, a Czech Republic-based illustrator who operates under the moniker of Dr(o)))ned Artworks.

For this interview we sat down to talk about art in general, his personal approach to illustrating and - of course - Dungeon Synth.

Welcome, Waclaw! Let's dive right in. Your work seems to cover a rather broad sense of thematics. Going through your online portfolio one finds categories that easily manage to capture the imagination. Warriors and beasts, gallows and misery, occult and acid, prog and abstract, fairy and psych, campy and funny. What drives you to cover so much different thematics and atmospheres?
In fact, I also cover artistic themes with no fantasy, or “dark” touch at all, even children’s books illustrations for example. And it is because life itself, even the one of a Dungeon Synth and Heavy Metal lover, simply isn't mere black and white. I am inspired by all of “life’s colors” and just can’t freeze on only one of them.

On the other hand, Dr(o)))ned Artworks is still quite specialized – my intention with this enterprise is to offer affordable cover art and designs for underground bands and musicians, no matter if they play Prog-Rock, Sludge-Doom, Goregrind or Dungeon Synth, to name a few, and I want everyone to be able to choose a piece that resonates with him or her. Through the wide content available on my portfolio, I wanted to make it evident that one can count on me if they would want a medieval torture scene, as well as when they're looking for a warrior queen defeating a dragon.

A Nigh Incident

There’s a very old school vibe throughout your portfolio. Especially Winds of Doom reminds me of early 20th century Cubism. Am I right if I’d say that both Cubism and Abstract-Surrealism are an influence to your own artistry?

Yes, I am very inspired by old masters. Beside the styles you've already mentioned I especially love Hieronymus Bosch and Pieter Brueghel. And from contemporary artist, it is in the first place Polish dark surrealist master Zdzislaw Beksinski or British comic book artist Simon Bisley.



What role does music play in the making of your visuals? Is it merely an inspiration, like the artists we've already mentioned, or does it play a rather active role during the act of creation?
It differs from time to time. I usually let the music influence my painting a lot (especially when I do a custom piece for a band or artist), but there are times - like a few days ago - when I, after many hours of dark ambient, started to experience aural hallucinations.
After that I had to change my background listening to comedy sketches (lol).



Bodyguards of the Warrior Queen

The Dungeon Synth scene seems to be full of life and activity these days. Are there any contemporary artists that resonate with you? And how do you relate to Dungeon Synth itself?

I am a big lover of good old dungeon crawlers like Dungeon Master, Lands of Lore or Eye of the Beholder series, not to mention gamebooks, like Dungeons and Dragons and MTG… Good old times that will never come back. I also love minimalistic, ambient or psychedelic music that “takes you on a journey”.

From my point of view, Dungeon Synth covers both these worlds and that’s perfect. I also admire the relative accessibility to this genre from the side of musicians. You don’t need a whole pack of quarreling egoists (and I know what I'm talking about, lol), a rehearsal room and all this stuff to express yourself through this kind of music. Isn’t that nice?

It is very hard to name a few from that many quality acts - and I don’t even have an alltime favorite. These days I listen mostly to oldtimers Secret Stairways or even Jim Kirkwood. However, from the newer ones I would recommend anything from Heimat Der Katastrophe records for their lovely classic RPG approach. I also listen much to Vangar’s The Forgotten King or The Birth of Naxxramas by Vaelastrasz. And as a speciality I would mention Grol the Goblin for his weirdness and minimalistic thematic coherence.



Thank you for your time and very insightful replies. The last words are all yours.
I warmly invite everyone to follow my Facebook art page, and if someone is interested in experimental music, I play guitar in a “not so serious DIY kraut-rock/drone-noise/field-recording instrumental project” with my best pal on drums. We call it Remízek and will be releasing a new album in the next weeks.
Thank you very, very much!

Dr(o)))ned's official website | Dr(o)))ned on Facebook

Vetraheimr - The Age of Tragedy

Gondolin Records, 2019

Ytterst sakta
som visste du
att det som rycks upp
kan tappa något
på vägen

When I see dramatic, contorted figures carrying standards, torches and weapons, I think of chaos. I think of anger. I think of men’s fragility and its struggle to refrain from physical violence. But, honestly, I do not think of Vetraheimr’s The Age of Tragedy.

Don’t let the cover art fool you; The Age of Tragedy is not a gruesome or violent record. Quite the contrary. Throughout 30 minutes of playtime, Vertraheimr paints a rather delicate and complex landscape. One that doesn’t shy away from seamlessly transitioning gentle piano melodies to moody, foreboding synths. Yes, it gets dark - and yes, it gets sinister, but somewhere in its carefully crafted, darker melodies always lies a glimmer of hope. Like a good fairytale, Vetraheimr manages to keep its listeners on their toes.

The Age of Tragedy is victorious when it comes to portraying a multitude of atmospheres, ranging from the incredibly uplifting The Village and hopeful Voyager of the Seas, to the eerie Lost in the Haunted Woods and borderline invasive Troll Bandits. It’s very rare to encounter a Dungeon Synth record that allows you to drift off and pay attention simultaniously, but it's here. Bravo.

TL;DR: A march to victory.
If you’re unsure what type of atmosphere you’re looking for, go for The Age of Tragedy, for it will drag you through nearly all of them.

Vetraheimr on Bandcamp | Gondolin Records on Bandcamp