At this point, I do not have to introduce Dungeon Deep Records as this US(?) label has been one of the more consistent and professional tape labels for dungeon synth in recent memory with a catalog of stellar releases that not only build upon the style’s pas but lay the groundwork for its future. Malfet is another entry into that chapter with their fourth record into what they call “pastoral dungeon synth.” I feel this is a perfect name for a style of dungeon synth that is warm but sweeping in its scope. Rather than relegated to a cottage of cozy fire, Malfet’s music rolls over hills in both sunshine and rain questing towards adventures far away from here. Malfet’s vision and ambition is large leading to theatric music videos which could seen ostentatious if not backed up by some outstanding music which is perhaps one of the better releases this year.
Amok Weg was something I found just paging through the new pages of dungeon synth releases. It was not on the new and notable page and was somewhat buried under albums with physical releases. Maybe it this had a tape release people would be excited. I know I would. Amok Weg is from Spain which usually isn’t the first 5 places one thinks about when thinking of dungeon synth but it is nowhere near the last. What struck me about Amok Weg was the grey path the artist walked through bleak darkness and illuminated majesty. Cast in shadows yet with definition, the self titled from Amok Weg offers its listeners a range of emotions and atmospheres that does look to depress or sooth rather something else entirely.
I can remember in 2017 when the first Compendium was released and I was flabbergasted at the quality of the work. DIM was truly monumental in its craft for medieval folk and fantasy ambient. I almost feel silly forgetting about this artist until someone told me about the third compendium and the addition of tapes for all three volumes. What I expected was another romp in the meadows of dungeon synth that was no more challenging than a light breeze carrying the smell of lilacs. What I got instead was a journey under the mountains with a release that is akin to quests in the underdark encountering strange nd mystical sounds of genres which lay dormant. If one would like to experience the journey in its full scope, the passage between the three compendiums is astounding with the third volume the most grand in its scope. Folk beats, new age tendencies, and electronic fetishes roil from dark caverns allows Compendium III to be a declarative statement on the future of medieval synth. I have no idea where this sound is going and I am keeping close to the composer as they lead me through the passages under the mountain.
I usually do not like to include geographical location when discussing dungeon synth at least in the fact of it being novel. Dungeon Synth, I feel transcends regional locations to a place far away from wherever one would be born. Taurwen’s distinction of being from Turkey is a fact but is heighted by their claim of being the only composer of dungeon synth in the country. Upon looking into it, it seems the other composer, Tir, was originally from Turkey but since moved to Australia. In fact, it would be fitting to know the two know each other and Tir mastered this record. Dungeon synth’s strength among the community is egalitarian access to not only the music but music to fans and the fat the music is making its way to places not originally known for bedroom synth is impressive.
It would be odd for me to praise the composers background and say little about the music. In fact it would be strange for this album’s only strength being the composers country of origin. A Wind Blows from the Mountain of Death is not only a strong debut, it is one of the better releases in recent memory with both an air of sadness which creeps along rolling hills in fog ridden mornings. The Mountain of Death feels distance and its wind which blows is not oppressive rather it hangs in the air as a constant reminder of its melancholy. Country of origin aside, this is a stellar debut for fans of classic dungeon synth in the vein of Wongraven, Mortiis, and Depressive Silence. Fantastic work from an artist that can honestly claim “the best dungeon synth artists from Turkey” by odd circumstance.
I was surprised to ElixiR in the new release feed as I thought this project was disbanded. This is entirely my fault as I was misremembering an incident in 2017 regarding artwork and the Bandcamp for this page being deleted for a brief moment before being brought online. This seems like ancient history as I was surprised to learn of releases which spanned that moment to today. The only person who is confused here is me. Le conte des trois faunes is the second release this year for Elixir aside from a Burzum tribute a few months back. Le conte des trois faunes is worth anyone’s time that seeks medieval style dungeon synth with an air of melancholy and clear production. My own memory can be hazy at times so I am glad I haven’t forgotten abut this artist as they still seem to be releasing stellar work.
“Gather around and have a moment of peace.”
First of all, if you enjoy the sound of this record and would like a Name Your Price copy, you can head on over to the artists Bandcamp to support. If you would like a copy of one of the better dungeon synth / medieval ambient records, then ask Ancient Meadow records if they have any copies left. They probably do not. Medieval Campfire Tales was something I was not expecting as I think I missed its first run earlier this year. It was not until I was picking up other tapes from Ancient Meadow that I stumbled headlong into a would of festooned magic and orchestrated wonder with a record that is fanciful and engaging. I am eternally grateful to tape labels that care enough to showcase artists like this as I can not imagine my life without finding these types of releases.
Release Date/Info: Pre-order October 16th on the Realm and Ritual bandcamp. Limited to 30 cassette copies.
this is one of the first prerelease tapes I get to review which is an exciting step in getting ahead of the limited release tapes that always seem to elude me. Alkilith is a US based composer who has already had a well received release this year. In fact, Blade of Morndinsamman was released in September, of this month, and already the composer is setting up for another release in October. If you are not familiar with the lonesome minimalism of Alkilith, then please see yourself to the nearest lonely mountain for a journey through the blistering cold of northern winds as it whips from the glacier. I make mention of the cold atmosphere but Tales of the Wandering Mage is a campfire set up in the shelter of rock ledges as it burns throughout the night. The sparse atmosphere combined with the undertones of solitude and emotional journey cast in lofi hues is something that can only be experienced by oneself in the shadow of great mystery and adventure. Realm and Ritual has already released fantastic tapes this year and Tales of the Wandering Mage is another chapter in a tome that is slung on the back of a traveling wizard.
“Another demo recorded in one take in the woods. Forest ambient bidding farewell to Summer, released on the Autumn Equinox.” When one talks about forest ambient, the usual connotation goes to sound rather than process. If forest ambient is going to be considered a way of making music, it will be wholly interesting and perhaps mystical. Forest Hermit is a US(?) based composer who has taken the dedication to nature one step future in making records as one perhaps solitary rituals to be preformed in remembrance of the seasons. Demo II is a hazy landscape of distant outlines marked only by passing stone structures which welcomes the coming autumn in wooden masks and heavy robes. Its raw nature is befitting its surroundings and the idea of this recording possibly including field noise and forest ambience is inciting even though it probably doesn’t. I am in support of more ritual ambient / field recording / dungeon synth hybrids that are actually made with enough tapes for the people who want them.
Villein’s debut was a surprise back in the halcyon days of June 2020. Not only was this a competent dungeon synth release swathed in lush layers but it was also somewhat overlooked by the larger community. This is funny since there was a 25 edition tape that accompanied the release which was sold out in minutes through Vicious Mockery. Still even with the tape release and the lush sound, I expected Villein to command more attention at least to the level of quality from these releases. This is okay since we still have time for Villein to enchant strangers with music that is intoxicating in its depth and majestic in its sound. Splendor Spoils is the second release in a few short months which if this final record for 2020, then it s a tremendous introduction to an artist that has come out of nowhere. Villeins music, as well as visual presence, is a wonderful gem for anyone who might have missed it and another chapter in a book I never thought I would enjoy reading so much.
I am including the link to the Realm ad Ritual release for this album even though the edition of tapes sold out. Altar of Necropolis was self released in May of this year but has since been picked up by the wonderful Realm and Ritual label. Orcus is a UK based artist who seems to live in two different realms with one being the contemporary and the other traditional. While the sound of Altar of Necropolis is exploratory in its sound with a balanced production, there is an air of somber haze which unites the sound with a release which pays tribute to the traditional dungeon synth of yesterday. Altar of Necropolis, as well as its creator, is both joyous and melancholic with a release that transcends time and emotion.