“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.

“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.

“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.

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.

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.