Elvenverse – Skeletronomicon IV: The Quest for Daelgron [UK, Dungeon Synth] (2023)

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Self Released | 9-8-23

“Quest music and OST’s from a host of fully-imagined adventure games from the late 80’s/Early 90s.” Yes, this is everything I love. Dungeon synth and CRPG music have many things in common and the idea of creating fictionalized OSTs for games that could have existed has been done in the past and it is always a fun aesthetic. Skeletronomicon IV: The Quest for Daelgron is the debut release from the project Elvenverse but in the imaged lore it is the fourth installment in the Skeletronomicon game series. While no date is given for Skeletronomicon IV: The Quest for Daelgron one could assume early 90’s given the predecessor Skeletronomicon III: Necroforge was fictionally released in 1989. this would mean Skeletronomicon IV would have the same visual and processing power as Lands of Lore: The Throne of Chaos (1993), Betrayal at Krondor (1993), or even The Elder Scrolls 2: Daggerfall (1996). Spending time imagining the graphics and mechanics of this game is half of the fun especially given the time spent giving plot summaries of the game.

Four years have passed since the vanquishing of Lord Xarguul, the conquest of the Necroforge and your safe return home. It is the eve of Moonfire once more, and, as you slumber at your desk, the book of Skeletronomicon turns itself open, upon an icy breeze, again to the black page… Pulling you through the portal and into the lost realm for the fourth time. As you cross the Skytower, you realise these lands are not quite as you remember. The Warlock Daelgron, your oldest ally, exiled and missing… The Hero’s keep burned and baring a charred, empty, throne…Nothingness. Save a strangely discarded map pointing to the forbidden roads.

This is the text which greets you as you preview the sample track “Fortstormer.” The sounds are bouncing chiptunes which begs you to think of either a title screen or an overworld map showing your location in the fictional land. there is something I respect about an idea which is pushed to its logical limits. Elvenverse is not just creating a Chiptune / DS record rather they are magically wishing something that does not exists to be an object of this reality. Skeletronomicon IV: The Quest for Daelgron is a game which came out in 1993 and from what I remember it is a game I still like to pick up from time to time and do another play through. Additionaly the soundtrack was pretty great from what I remember.

L A N D S R A A D – Fate; The Inevitability Thereof [UK, Dungeon Synth] (2022)

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Self Released | 8-1-22

Last year, I raved about L A N D S R A A D and their debut The Golden Path. This release kicked off a potential long series of Dune inspired dungeon synth which not only showed excellency in terms of composition and production but also a new avenue in terms of thematic source material. Dungeon synth is not relegated to the earth and the silent foundations of Berlin School / Kosmiche Musik becomes more apparent with each release filed under its name. the dungeon is just the beginning for a brave new world of space based progressive ambient. Fate; The Inevitability Thereof takes its inspiration, and namesake from the themes of Dune Messiah, Frank Herbet’s second book in the Dune series. More than just Dune DS, L A N D S R A A D feels like it is guided by the principles and precepts of Herbert’s universe. Fate, prophecy, power, and the zeal of faith all drive the topics of this record making it not just a tribute album but rather a space ambient record which shares the interests which constructed the book series. Fate; The Inevitability Thereof is a fantastic dungeon synth record which continues an interesting series that I felt was a novel idea at first but is quickly becoming something with unforeseen importance.

Vessel Of Iniquity – Graveyard of Dead Gods [UK, Black / Death / Noise] (2022)

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Self Released | 1-12-22

Back in 2017, I wrote about the debut from UK project Vessel Of Iniquity. The self titled debut came out on various labels and I believe I wrote about the Xenoglossy Productions version. I was blindsided by the force and reckless abandoning of the sound. Graveyard of Dead Gods and Architecture of Existence are two “new” EPs for 2022 consisting of songs that were “An old unused EP I found on my hard drive.” The dichotomy between the music and the seemingly carefree attitude of its creator is striking as both EPs feel like a terrible storm. v operates without constraints and the sound of both new EPs has a driving rhythm that feels more like a mounting wave of chaos and confusion. The addition of the music being without a time or place of conception adds to its other-worldly-ness as these two EPs have appeared in our world and now are set loose among the population. This project is unpredictable as it is intriguing and I fully expect to be terrorized by it in the near future.

Mortuary Spawn – Spawned From the Mortuary [UK, Death] (2021)

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Chamber of Emesis | 4-23-21

UK death metal has always had a strong history and its current scene is continuing a legacy that has already been written in blood. When I first heard the name Mortuary Spawn and saw the cover art for their debut EP, I had a feeling it would be craved by a certain fan of heavy metal. This fan might be undead and with ravenous claws which make their way out of cracked coffin. If all of this sounds silly and ridiculous, wait until you are sent down a rollercoaster of riffs with the tension gripping the back of your neck. For 15 minutes, you are at the whims of revenants who mean to entertain you with bloody magic tricks which ends in one person cackling and the other sickened. Mortuary Spawn worships at the altar of old school death metal with a tribute to its looming atmospheres which rolls over cemeteries like fog. This is a sound which will be familiar for some and pleasing to many as it focuses on the parts which makes death metal so successful. If the black and white cover that looks like old Dungeons and Dragons modules is any indication, Spawned From the Mortuary is going to be a party for some but those are going to be the ones chasing others down blood splattered halls.

Wizard Tower Studios – Beyond the Lost Realm [UK, Dungeon Synth] (2021)

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Self Released | 3-4-21

“Our hope lies on a solitary hero – who’s destiny is unclear even to the wisest mystiks. Through the forests they must go, beyond the Lost Realm…” This is the line that could be on the back of an adventure RPG Nintendo box somewhere in the late 80’s. Everything about this release is amazing, from the melodies to the aesthetic to the general carefree attitude when it comes to blurring dungeon synth and video game music. The worlds of dungeon synth and games is separated by perhaps a small river which man people have found ways to traverse or build bridges between. Beyond The Lost Realm is a love letter to 8 bit music soundtracks which invoke the spirit of nostalgia that flickers on the screen of a warm television.

Land Spirit – Through The Eternal Woodland [UK, Dungeon Synth] (2021)

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Self Released | 2-21-21

“Dungeon Synth exploring the strange history of Vikings in the UK. Nazis fuck off.” I often love the frankness of Bandcamp introductions as Land Spirit both paints a delicate picture of the music while still telling fascists to fuck off. Through The Eternal Woodland is the third release for Land Spirit just in 2021 and despite the flow of releases, the current offering stands out as a monument in dungeon synth with a heavy magical tone. While the cover indicates an understated raw dungeon synth, the progressive spirit of this release swirls around grainy renders of ancient monuments offering a future that is hazy and cast in vintage tones. In the footsteps of Hedge Wizard, Land Spirit walks offering arcane sorcery in low fidelity.

Ferhðfriðende – Deruenta [UK, Dungeon Synth / Folk] (2021)

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Self Released | 12-30-20

For purposes of actual cataloging, this was released in the final days of 2020. For purposes of talking about new dungeon synth, I am considering this a 2021 release. Ferhðfriðende is one part (or a separate entity) of Fyrngeflita, a UK based dungeon synth folk project that is dedicated to trees. Both Fyrngeflita and Ferhðfriðende are making demos which combine the easy melodies of guitar based folk with the atmosphere of dungeon synth. The Bandcamp release is accompanied by the description of

“Deruenta is a Brythonic word, translated to where the Oak trees grow”, from which the word Dart is derived. From the head to the mouth, along many a stretch of the peat rich waters, springs the sacred tree of Albion. Amongst which dwell many creatures, some friendly spirits others seldom seen, some so fragile they are found nowhere else and others as hardy as the Granite bedrock itself. This is the delight of the Native Ponies company, or watching the Grey Wagtail’s and Dippers at play. The reward of a long cold night beside the Otter’s den for a chance appearance, or meeting the watchful eye of the Heron patrolling the banks.

..as well as a promise that money from this demo will be donated to the Devon Wildlife Trust. This dedication to nature as well as a marriage of folk instrumentation is a brave step into a new arena of dungeon synth that steps towards a sound that is transcendental and eternally reflective. I am considering this a 2021 release since I most certainly will be talking about it over the course of this year.

Nighthaunter – Phantasmal Journeys into the Morbid Past [UK, Raw Black] (2021)

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Self Released | 1-2-21

Welcome to 2021. As this site develops into a dungeon synth haven, I want to make sure I dig into the grave soil for some truly horrid black and death metal demos. Phantasmal Journeys into the Morbid Past is the first demo from a UK project that could be a solo venture or a group but since Nighthaunter is without a Metal Archives or social media page, we are just going to guess. With the lack of information comes a vacuum of space that fills with thrashing and boney kicks to the face from an obvious ghast that has tracked you through this cemetery. Raw and unkempt is the perfect way to enter into this year with fear and terror.

Villein – Splendor Solis [UK, Dungeon Synth] (2020)

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Self Released | 9-12-20

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.

Orcus – Altar of Necropolis [UK, Dungeon Synth] (2020)

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Realm and Ritual | 9-11-20

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.