Summoning - Lost Tales

Napalm Records, 2003

It was like a gloom, with a thousand facets 
It shone like silver in the firelight 
like water in the sun, 
like snow under the stars, 
like rain upon the moon 

Stuck between the much-praised Let Mortal Heroes Sing Your Fame and Oath Bound rests Old Tales; an odd addition to Summoning’s extensive discography due to its lack of guitars, screeches, and brief play length. Featuring enhanced echoes of material that stems from Dol Guldur and Silenius’ Mirkwood, one could argue that Lost Tales balances between being a short compilation and stand-alone endeavor. Therefore, I think it might be interesting to approach the record not as an isolated work of art but rather as a mirror with which we can reflect on Summoning’s broader material. Throughout this writing, I’ll try to give an interpretation of how Lost Tales relates to the project’s other works - and in what ways it branches off.

Within its first 45 seconds, the opening track Arcenstone manages to do something that is so unlike Summoning that I can not simply ignore it, even if it is such minute detail. In between a conversation concerning the Arkenstone, there is this fragile and unstable violin melody. It stutters, reestablishes itself, detunes and finally dissolves, to never return again. What makes this brief moment stand out, is Summoning’s oeuvre’s overall lack of attention to fragility and uncertainty. The project’s musical landscapes - not unlike many of Tolkien’s sceneries - are vast, open, and more often than not portray courage, power, and pride. When Silinius and Protector go for a more quiet and timid approach Summoning’s palette can become gentle and mysterious - as can be heard in a track like Dol Guldur’s Angbands Schmieden. Yet, very scarcely do we find a level of intimacy as is portrayed within Arcenstone’s first seconds.

Let us not dwell on this, for the thought of a more delicate Summoning gets mercilessly trampled by proud bombast as soon as the track starts to build up steam. Honestly,  Arcenstone is a trademark Summoning track, despite originally being written for Mirkwood. Its melodies remind of those on Minas Morgul and Dol Guldur; they’re soothing yet powerful. Its diverse use of both soaring and pulsing synths creates a dynamic that beautifully co-operates with the pacing of the rhythm section. One could easily imagine guitars and vocals creating an explosive final act - but they do not, and it honestly does not matter.

Where Arcenstone drifts off in a comfortable fashion that most of us would classify as typically Summoning, it is Saruman’s aggressive bombast that harks back so far I find myself back in Lugburz territory. Where some have claimed that Summoning’s real discography started with Minas Morgul, it was the fierce black metal-induced Lugburz that at first waved the Summoning banner. While Protector in an interview from 2006 proclaimed that the debut is disliked by both him and Silenius, it is interesting to hear that at least the energy that was found in Trifixion‘s hectic drumming managed to re-introduce itself briefly as the percussional foundation of Saruman.

Sadly, Saruman does not evolve beyond its bombast. Even when the synths take a step back, the percussion keeps pounding away. We could argue that this echoes Isengard’s ever-going industrial urges but at the same time it turns a 9-minute song - that does carry interesting elements - into a tiresome ride.

In the end, Lost Tales can be seen as a fascinating addition to every Summoning fan’s collection. While in its core the two tracks stay very loyal to what can be considered Summoning-esque, they also engage with rarities like delicacy and hecticness; two elements that Summoning still hasn’t managed to successfully incorporate within their sound.

TL;DR: Arcenstone is an absolute gem and makes it that Lost Tales deserves a spot in every Dungeoneer’s collection.

Summoning on Bandcamp | Summoning on Facebook

Lost Tales - An Old Wizard's Secrets

Mystic Timbre, 2020

"I looked then and saw that his robes, which had seemed white, were not so, but were woven of all colours, and if he moved they shimmered and changed hue so that the eye was bewildered."

To me, a great amount of Dungeon Synth’s quality can be measured through its hummability. While I’ll always be receptive to long-winded corridors of texture and specific types of production, it’ll be a chain of notes that decides whether or not I will return to a song or album. Which raises the question: does An Old Wizard’s Secrets make me hum like an aging magician, finding its way through its singular vision?

If you’d asked me this question back in January I’d told you that there was no doubt in my mind it would. The then released track Follow One’s Singular Vision was a lovable devotion to old-school hummability - and has seen many repeats in this house. Now, two months later, I am surprised by the diversity An Old Wizard’s Secrets brings to the table. Not only did we get the earworms I so highly praise but we got a carefully balanced composition along with them. This levitates Lost Tales’ effort from highly catchy to mainly catchy but more-often engaging.

While short, the album feels cohesive. Slow and long-winded passages dance with adventurous and upbeat melodies; all drenched in a production that harks back to a pre-90’s setting. A few copies of the cassette are still available, so do yourself a favor and plunge within this first world by Lost Tales. A world out of which I hope many others will come forth.

TL;DR: Short but engaging Dungeon Synth. I believe it makes your beard grow faster.

Lost Tales on Bandcamp | Mystic Timbre on Bandcamp

Forlorn Kingdom - Distant Apparitions

Self-released, 2020

"Isn't it gorgeous? 
I hope we have the coldest winter ever."

Forlorn Kingdom got a small wave of attention when it released Walking The Paths Of Old back in 2019. It contained material that was produced between 2013 and 2015, and its unexpected praise led the creator to introduce us to a follow-up called Ancient Winter's Domain which saw the light of day last September. Now, Distant Apparitions has found itself into existence; a 28-minute run of old-school Dungeon Synth, that has been made physical on cassette for a very select audience.

When I say old-school, I mean straight on Voldsom vibes. Wintry, melodic, and with that rare quality to take over a room within seconds. Distant Apparations comes at this perfect time of the year in which the days are still short and dark, making its atmosphere very relatable and appropriate for any hour of the day. Its strongest moments are when we get treated to its spare use of percussion. These cold and distant hits - on what I imagine to be a wooden surface - enhance the repetitive melodies and truly broadens up the musical spectrum in which the listener effectively wanders off.

2020 Has just arrived and Forlorn Kingdom already sets a very high bar for upcoming releases due to its immersive character and all-round stellar production. One can only hope for the material to be made available physically later this year. Until then, I’ll just be pressing replay on Bandcamp.

TL;DR: An old school-esque release that opens up and draws one in from the get-go. Highly recommended.

Forlorn Kingdom on Bandcamp

Barak Tor - March of The Triumphator

Neuropa Records, 2018

“For us, there is no spring.
Just the wind that smells fresh before the storm.”

When I think of ‘Barbaric’ music, I think of acts like Blasphemy and Revenge, with their muddled caveman riffing and fast but sloppy drumming. When keeping warmetal out of the equation, I think of steady pounding rhythms, devoid of melody, trance-inducing, and so loud that you can literally feel every hit. To be barbaric means to be unsophisticated, lack nuance and act rude. Yet here I am, holding this marvelous piece of music called March of The Triumphator; a record that is ought to be barbaric but positively floors me with its delicate nuances.

In an interview with Barbarian Skull from 2018, Barak Tor explains that this genre-description is “not only because of the concept but also because [the music] is simple, straightforward and quite monolithic, as barbarian prehistoric civilization.” And whilst descriptions like those evoke memories of Sun O))) live-shows - amongst other things that Barak Tor share little resemblance with - let us simply embrace the genre-description for now and dive into the music.

March of The Triumphator is a fantastic experience. You know you’re in for a ride when the first notes of a record already lure you in - and what follows simply doesn’t stop grabbing your attention. In 42-minutes time, Barak Tor continuously changes its palette when it comes to instruments and atmospheres. One moment a gentle wind instrument lifts you up, the other you’re being assaulted by grand war drums. Its layered compositions do not only stress the albums replay value but also make it that the atmospheres on the record are never one-dimensional. These are not just proud war songs, nor are they specifically frivolous or melancholic. Not unlike Conan the Barbarian, these songs shine because of their polished nature. They’re never too gritty, too overwhelming, or too light-hearted. Rather, they’re all of these things, constantly interchanging and overlapping, tumbling over each other and enhancing their own effectiveness. Honestly, you can drop your needle anywhere on this record, and it will instantly draw you in.

This record was one of the first when it comes to contemporary Dungeon Synth being released on vinyl, and for good reason. If there are still copies out there, consider it a must-have because Barak Tor’s combination of moods and broad instrumentation provides a solid and diverse musical escape.

TL;DR: Highly recommended and sophisticatedly approached Barbaric Dungeon Synth. Like its first influences, Hero’s Quest and Conan the Barbarian, it merely pretends to be barbaric whilst actually engaging in much richer dynamics.

Barak Tor on Bandcamp | Barak Tor on Facebook

The Cursed Cold One - The Hag Of The Sea

Self-released, 2020

"Hello. My name is Inigo Montoya.
You killed my father.
Prepare to die."

The Cursed Cold One has been producing releases at a very fast pace. Its self-titled debut crawled out of the ocean in November 2019, and was followed up shortly by Carbuncle in December. Now, one month later, The Hag Of The Sea is upon us.

I’m always anxious when artists produce material as quickly as The Cursed Cold One does. My biased brain can’t help but think that a quick effort equals a rushed one - and that a rushed effort equals a painful drop in potential quality. Whether this is true or not, is nearly impossible to determine, and will always depend on the producer and its circumstances. Sadly though, it does have an irrational effect on how I personally experience the tracks that The Hag Of The Sea has to offer.

With the EP’s description talking of revolting creatures, so horrifying that the weak-hearted were known to die upon gazing at them, I expected the music to be much more unnerving. Instead, the EP offers us five pleasant, meandering tracks that, at first listen, do not seem to engage with the proclaimed concept. Due to the last track containing a sample of the 1987 movie The Princess Bride, I figured the film could help enlighten me - and sat down for 100 minutes of adventure and comedy.

It did not enlighten me.

Musically, The Hag Of The Sea is a charming, little EP but fails to connect to the themes it textually brings to the table. If the latter does not concern you, I’d especially advise you to dive into 'Illusory Appearance' since this is where The Cursed Cold One truly excels. Do not stop there though; the project’s other two releases are of the same musical quality as The Hag Of The Sea - and maybe, just maybe, we’ll see another folkloric creature arise this February. If so, I really do hope to hear The Cursed Cold One fully connect its music to its imagery - because the concept of consistently dedicating short EP’s to mythological creatures is a beautiful one.

TL;DR: A short but pleasant experience. Whether the music evokes the imagery of sea hags is up for debate.

The Cursed Cold One on Bandcamp | The Cursed Cold One on Facebook

INTERVIEW: Old Sorcery

It’s no secret that Old Sorcery’s Strange and Eternal is one of my favorite records of 2019. In order to delve a little bit deeper into this exquisite piece of music, I sat down with the wizard behind the project to discuss his influences, motives and future endeavors.
 
Thank you for taking the time to answer whatever riddles my mind. You are a fascinatingly busy musician, who - besides Old Sorcery - also releases material through the monikers of Megahammer (synthwave) and Warmoon Lord (black metal). Am I mistaken if I’d say that Megahammer’s love for rich, pulsing, 80’s synthesizers also shines through in the works of Old Sorcery? And if so, is it something you deliberately do, or is it something that subconsciously happens?

Thank you! I don't see the obvious 80's influence in Old Sorcery, I'd like to think that the vintage synths used in this project are mainly used in the same way as Tangerine Dream when they made their glorious soundtracks. For example, the movie Legend (Ridley Scott, 1985) is a medieval/fantasy film, but one of the soundtracks is electronic and made with synths by Tangerine Dream. While sounding 80's, the vibe that I get is magical, adventurous and in no way reminding of say, Miami Vice or any 80's cliche. Synths sound otherworldly and mysterious, so I think that they fit Old Sorcery very well.

Legend (Ridley Scott, 1985)

Imagining Miami Vice tropes while listening to Old Sorcery would give a new meaning to the 'Strange' in Strange and Eternal. Don’t get me wrong, it’s not that the album makes me think of sunglasses and big hair. Rather, sonically it reminds me of the sounds of the legendary Synclavier II synthesizer; a model that has been used for both the atmospheric wonders of Tangerine Dream and the danceable outbursts of acts like Depeche Mode.

Speaking of Legend and Tangerine Dream, if Old Sorcery would ever score a movie, which one, or what type of movie would it be?

Tough question... I have done film-composing, actually. Ranging from dramas and art-films to horror and exploitation. If I had to compose a soundtrack with Old Sorcery, I think it would be some sort of fiction or a period film. Most likely fantasy, or a medieval war film.

While obviously having their own character, it is easier to think of influences for your other projects than it is for Old Sorcery. When I listen to Strange and Eternal, it does not necessarily evoke imagery of well-established fictional worlds like, for example, Lord of the Rings. Instead, it reminds me of much more ambiguous sceneries, like Max Ernst’s The Entire City, or The Eye of Silence. The record recalls imagery of breathtaking but unstable landscapes that evoke the urge to explore. Those are, of course, my own interpretations, so I’d love to hear about any visual inspiration for Old Sorcery.

Whoa! It is indeed fascinating how differently people imagine the album visually. It is a very great compliment, that it brought Max Ernst's work to your mind! When I was working on the album, I had this little frame of a story in mind. Of course, the huge influence of Tolkien is noticeable in basically everything I do artistically, it is buried in my mind, so to say. But on this album, I was thinking of this ancient king, with his own court wizard and whose time has finally come. The story is not very detailed, and it reveals something of itself to me on every listen. What I would like, of course, is that having provided some key aspects, atmospheres, song titles, artworks and such, the listener would develop his/her own story of it.

Here are some of the visual stuff that inspired the music for the Strange and Eternal album: 60-70's horror movies, particularly Hammer films, and the so-called folk horror sub-genre with films like The Blood on Satan's Claw (Piers Haggard, 1974), Mark of the Devil (Michael Armstrong, Adrian Hoven, 1970), The Wicker Man (Robin Hardy, 1973). Weirder films like Valerie and Her Week of Wonders (Jaromil Jireš, 1970), I watched this one like 5 times during composing, Zardoz (John Boorman, 1970) and Fantastic Planet (René Laloux, 1973).

The Blood on Satan's Claw (Piers Haggard, 1974)

I recently watched - and thoroughly enjoyed - Midsommar (Ari Aster, 2019) at my local cinema, and it strongly reminded me of some of the classics you’ve just stated. Especially The Blood on Satan’s Claw and The Wicker Man came to mind. Are there also contemporary artists that inspire Old Sorcery, or is it mainly the works of decades ago that fuel your fire?

I saw Midsommar at my local cinema as well. Loved it! Nearly as perfect as Ari Aster's feature-length debut, Hereditary. The imagery, and the constant nods to old school horror! It was also very violent, and the gore shown at broad daylight was very hard to watch. Awesome... When it comes to contemporary influences, they are a few of them as well. I find myself constantly returning to the past and I have stopped caring whether it is a useful thing or a hindrance. However, modern films have their good stuff also, but one needs to take time in searching for them. I think that the best contemporary horror film is The Witch. It is the one that I keep recommending, whether you are a horror-enthusiast or new to the genre. From quite new ones, I also love The Autopsy of Jane Doe, The Ritual, The Void, Raw, Get Out, Love Witch, etc... I am not into this remake-thing, it just makes me sad. If you really want to get into horror, this current time we live in is not the best. As you can witness, this is a subject I could talk about for strange eternities, hah! The best modern movie, in my opinion, is Mad Max: Fury Road. I will never get tired of it.

As for contemporary artists in general, there are a few bands I listen to. They don't necessarily influence me directly, though. I was really blown away by Vargrav, a symphonic black metal from Finland. From new black metal bands, I also listen to Morgal and Grabunhold, to name a few. I like some of the fellow Dungeon Synth artists like Vinkaldr, Aindulmedir, Haxan Dreams. New books... well, very few. Recently, I read a history of cannibalism by Artemis Kelosaari and really liked it. Gruesome and interesting, it was written in 2018 - 2019, I think. I read quite a lot about occultism, magic, vampirism, mythology, and stuff. Rarely anything contemporary, though.

Midsommar (Ari Aster, 2019)

While I’m completely in love with your list of references, I do start to wonder if there are influences for Old Sorcery outside the realms of media. I’ve had the joy of visiting Lahti once for studies and can imagine that the more rural landscapes surrounding the city provide a solid spark of inspiration for the works of Old Sorcery. Are there aspects of everyday life - environmental or other - that knowingly find their way into your music?

Outside the realms of art, you mean? Not particularly, no. I work as a librarian now, so I'm constantly surrounded by books, films, and records. At home, it's just more of those! Nature, of course, is an inspiration. I really cherish all the times I get to walk in a forest. But sadly, nowadays it's all just work and work. I have to reserve enough free space from the calendar just to get started in creating music. Earlier in life, it was just waking up and picking up an instrument.

Librarian, Georg Reimer (1828–1866)

In a heavily romanticized sense, you do not only evoke magic through your own music but also, as a librarian and collector, you continuously surround yourself with the magic of others. Is there a form of creativity - which could be film, literature, sculpting or even the art of cooking -  that intrigues you as a creator but remains untouched due to your other activities?

Not really in any serious sense, I am a musician. What I would like to do more in the future, is writing. Fiction. Scripts for a movie, or novels. But I am not sure it will happen. We will see.

Let us ignore the urge to delve into the past and present for a brief second and address the utmost cliché but ever so intriguing question, “what does the future hold for Old Sorcery?”

A new album. This will conclude the castle trilogy that started with Realms of Magickal Sorrow. We will also continue the Old Kingdom-saga that started with Haxan Dreams on our first split. 2020 starts with a glorious triumph: Strange and Eternal will get a vinyl release, and an EP compilation featuring The Path Lies Hidden and a whole new EP titled An Inkling of Void will be released.

Having already pre-ordered the vinyl release of Strange and Eternal myself, I urge anyone who is interested in this work to do the same over here. Let’s be honest though, what is it with Old Sorcery and castles? What specifically draws you towards these creations?

There is no complicated or a deep answer to this.
I just think that castles are fucking cool.

Old Sorcery on Bandcamp

INTERVIEW: Silent Cabin

Gently Unveiled, 2019

The Finnish Silent Cabin has been delivering melancholic Dungeon Synth since early 2016. The project’s latest creation, Gently Veiled, was one of my favorite surprises of 2019 - and has broken the silence within my own cabin for many times since its release in August. Its creator took the time to answer some of my questions concerning the birth, development and potential future of the project.

While the music of Silent Cabin speaks volumes, I do wonder were the projects origins lie. What caused you to so dedicatedly make this type of music?

So, in late 2015 I started to get into more extreme and experimental (for lack of a better word) music, Vaporwave and Black Metal mostly. The first thing close to Dungeon Synth I listened to was Dream Castle by Tanning Salon and I was instantly intrigued by it. I then found Depressive Silence and Voldsom Tapes and spent the first half of 2016 listening to more and more Dungeon Synth and Ambient music.
I then soon decided to start my own project; inspired not only by the sounds I had discovered but also by my own very much melancholic mindset.

Those are some great starting points when it comes to discovering a new genre! While there are a lot of differences between Vaporwave, Black Metal, and Dungeon Synth, all three genres do heavily tap into feeling like melancholy and nostalgia.
What do you think that makes Dungeon Synth such a fitting vessel for these feelings of loss and longing?

I think Dungeon Synth as a genre is still considered a relatively outsider one. For me, it has always been easier to put out my thoughts for a smaller audience.
I’ve always enjoyed listening and creating the minimal and hypnotic side of the genre the most, and I think that those elements make it perfect for expressing myself at the rawest.

Garden of Death, Hugo Simberg, 1896

When listening to your debut, Forgotten in a Cold Forest, it seems that there’s been quite a transformation in Silent Cabin when it comes to atmosphere. How would you describe the project has evolved throughout the years?

Looking back, I didn't really know about music theory at all when I made my first recordings. They were mostly experiments with VSTs, trying to emulate the atmospheres of Old School Dungeon Synth. My personal favorite from the early releases is definitely Lonely Mountains, which was basically worshipping the earlier mentioned Dream Castle album.

There were four releases in total made in 2016, and I actually think I had burnt out quite a bit by the release of Gates Of Autumn. On We Left, I returned to making music and I'd say that It was the turning point in the project. I started to go in a more ambient/drone/progressive electronic direction, inspired (mostly) by the early progressive electronic tapes of Oneohtrix Point Never.
By this time I also decided to do these releases as a trilogy (all having cover art by Hugo Simberg and his symbolic theme depicting death).

Fragile Voices was the final part of the trilogy and I actually considered ending the project there.  Things took an unexpected turn though, as I was contacted in spring by Britt from So Called Hell wanting to release a new album of mine on cassette. I actually composed Gently Veiled very quickly, using some outtakes from Fragile Voices as the foundation, while also doing new stuff from scratch. Although Gently Veiled, as said, was done very quickly, I actually consider it my greatest work so far; my understanding of basic music theory has helped me improve a lot. In conclusion, Silent Cabin has evolved a lot primarily as my musical skills and life have changed during the years.

Sometimes the greatest things appear when we aren’t upholding ourselves to previous standards and just experiment within the moment - as you have proven with Gently Veiled. Will this be a continuous approach for Silent Cabin, or do you have other plans for the future?

I've been working on some new ideas recently, and am hoping in the future to release a new album on a label who would be willing to work with me. I also run my own small label, Lahja, on which I'm planning to reissue Lonely Mountains on a later date.

Talvimaisema, Hugo Simberg, circa 1891-1899

Is there a local scene for Silent Cabin and Lahja-releases, or do you find your music is mainly embraced by a small, faceless but world-wide group of connoisseurs?

My supporters are definitely spread around the world.
Also, I myself am not in any related local scene, really. Overall there's only been a handful of orders (of my tapes) inside Finland.

Does this also mean that there’s little live-activity for Dungeon Synth in Finland? And if Silent Cabin was to play live once, what would be the perfect setting and line-up?

Last year, I was actually contacted by someone planning to organize a small Dungeon Synth event here. I think nothing really came from it though.
As of Silent Cabin, I don’t have plans to play live at all. For me, Dungeon Synth is a genre you enjoy better on a tape player than in a live setting.

Silent Cabin on Bandcamp | Silent Cabin on Facebook

Pafund - Til rigets ende

Realm & Ritual, 2020

"I am alone;
I am always alone
no matter what."

Stripped to what could be the genre’s absolute minimum in terms of instrumentation and composition, is Pafund’s opening of its latest release Til rigets ende. This 30-minute track has been broken up into two separate ones, and takes its time to slowly but steadily creep into the listeners head.

Do not expect Til rigets ende to instantly provide you with multi-layered bombast, pounding drums or catchy melodies. Instead, the record’s first half chooses to spread its atmosphere carefully by building passage upon passage that is rich in texture, yet poor in diversity. This way, Pafund manages to successfully mimic grey and beaten pathways, long-abandoned corridors, and the dreading feeling of actually being alone.

When after 14 minutes the album’s first melody kicks in, it is not one of relief. Rather, the distorted and muffled sound of the tones enhances this feeling of forsakenness that has been so carefully build-up. As the intensity of the music slowly starts to rise, Pafund allows color to enter its spectrum and unexpectedly opens up to what is its first embracing moment.

The way Til rigets ende provides a sonic narrative is worthy of praise and many, many repeated listens. Do act fast though, because Realm & Ritual will release an extremely limited cassette later this month - and I expect it to be gone real quick.

TL;DR: Beautiful, lo-fi Dungeon Synth that transcends the creation of mere atmosphere and enters a realm of compositional story-telling.

Pafund on Bandcamp | Pafund on Facebook

Grandma's Cottage - Grandma's Cottage

Self-released, 2019

“One can never have enough socks.
Another Christmas has come and gone
and I didn’t get a single pair.
People will insist on giving me books.”

Today's example of “things that make me sad but shouldn’t”, is Grandma’s Cottage. Describing itself as Comfy Synth, the project firmly positions itself in the genre’s legacy of evoking a longing for things that never occurred. While other projects awaken vistas of magic, fantasy realms, or a fictional version of medieval Europe, Grandma’s Cottage seems to aim at collective ideals of childhood and nurture; concepts that established themselves partly through illustrative Christmas cards, holiday movies, and popular fairytales.

Atmospherically, the short album can be best described as getting tucked in with a warm blanket. Its 13-minute run is filled to the brim with pleasant, frolic melodies, which are grounded by subtle and simple basslines. Its slow character emphasizes the setting that’s already been set by the cover artwork and titles - of which “go fish” personally hits home the hardest.

What elevates Grandma’s Cottage as a concept is not merely its warm embrace. While creating a naively wholesome atmosphere during its musical playtime, all songs on the album get mercilessly cut-off at the end; pulling the listener back to its factional status quo for a split second. In my personal case that would mean: without any grandparents, having outgrown my childhood, and with no foreseeable possibility to relive the setting Grandma’s Cottage so craftily explores. It’s this element, combined with the reflective nature of the music, that makes it so much more than a mere gimmick to chuckle over - and serenely bath within.

Due to this potentially confrontational effect, Grandma’s Cottage positions itself as an incredibly effective project that serves as a prime example (or critique?) of Dungeon Synth’s stout illusory nature.

TL;DR: While commoners delve into caverns, the brave delve deep into their own childhood.

Grandma's Cottage on Bandcamp

For a take on Grandma's Cottage's second effort, we recommend reading this review by The Dungeon In Deep Space; a platform that had dedicated itself fully to Dungeon Synth and related sounds since its start in August 2019.

Top 10 Dungeon Synth Releases of 2019

2019 Has been a very fruitful year for Dungeon Synth. There’s been a huge amount of new projects, as well as the continuation of older torch wielders. While I have been floored by so many records this year, these 10 releases - in no particular order - made the biggest impression on me.

I would sincerely like to thank the artists, their labels and all those who’ve supported the genre throughout our past journey around the sun. Here’s to another year, another dungeon, and the synth-driven relief of time and space!

Burgen - Miserere
Gondolin Records

There is a sadness in Miserere that really comes to life thanks to its beautiful, gritty production, hypnotizing repetitiveness, and the use of low, murmuring vocals. While comforting it simultaneously evokes the urge to comfort. A blessing, a curse; a magnificent piece of Dungeon Synth.

Earthencloak - Pipe Smoke and Faery Magick
Self-released

I’ve already written about the new Earthencloack over here, but can’t stress its importance enough. This is the prototypical, heart-warming, gnome-dominant Dungeon Synth record. If you want to feel jolly and comfortable, but with just a pinch of melancholy, you need to inhale the Pipe Smoke and embrace the Faery Magick.

Fief - V
Out of Season

Dropping at the very end of this year is Fief's fifth endeavor. Harking back to the mildly energetic and uplifting atmospheres of II and III, V stands as another catchy grandstand from this ever-giving mammoth.

Moth Tower - Clavitasian Threshold
Gondolin Records

Following up on the monumental Sharpen Thy Knife, Curse The Sky is not an easy task but Moth Tower managed to pull it off. By losing some of its charmingly naive character, Clavitasian Threshold delivers a more focussed and mature narrative that grabs you from the beginning till the very end.

Nortfalke - Atmosfeer
Heidens Hart

“Dungeon Synth for the true wanderer.” If there’s one thing we need more of, it’s a proper infusion of Berlin School trance-inducing tradition into our dungeons. Atmosfeer is not just a good record; it's a milestone. I would advise this record to both the newcomers and the old garde of the Dungeon Synth genre without even blinking an eye.

Neverlur/Sequestered Keep - Under Nordljosets Straalar / Quests in the North
Tour de Garde / Out of Season

Being a big fan of both projects, I was delighted to find out they were doing a split this year. Both sides further develop their already established qualities but never feel like completely separate entities; keeping both their own character and the cohesive spirit of this split intact.

Old Sorcery - Strange and Eternal
Garavluth Records

Strange and Eternal was my first big surprise of 2019. There’s no filler content on this album, whatsoever. Throughout its entirety, Old Sorcery conjures what might be one of my favorite Dungeon Synth experiences so far. A perfect combination of the old and the new; and a bright, bright promise for what's still to come.

Silent Cabin - Gently Veiled
So Called Hell

Gently Veiled is one of the most relaxing records I’ve come across this year. Its gentle and calming character makes it easy to drift away in, while it simultaneously provides the right amount of development to keep the listener involved. Combine this with a very fitting production and you've found yourself a gem that deserves to be heard for many years to come.

Ulk - I + II
Gondolin Records

Combining Ulk’s first two EP’s was a stellar move by Gondolin Records. They perfectly complement each other, and the first one seemingly transitions into the second; effortlessly continuing Ulk’s original blend of Dungeon- and Forest Synth. Slow and intriguing, Ulk unleashes a powerful, ongoing energy that is laden with atmosphere and nostalgia.

Utred - Gothic
Citadel Of Sound

Utred's best effort till this date became an incredibly dynamic record that, not unlike Gothic architecture, reaches for the skies. You can read our interview with Utred over here but even better would be to enter Gothic's magical and dynamic realms.