The rhythm of Ulk albums usually follows a pattern. It gets announced out of nowhere followed shortly by a Gondolin tape release you probably will not manage to get, artwork by French illustrator Pierre Perichaud, some sort of shade of green, and finally a placement near the top of the end of the year lists. I know I speak at least for some in saying that we love this cycle since each release from this mysterious Dutch artist has been a treasure and the collected work of somber magical synth is both classic and contemporary. The Carrier’s Blessing is no different as an entirely new volume to add to the growing collection of academic nature synth. Ulk albums have the potential to become new classics as their release is always met with resounding success and appreciation. I know the turtles that are being helped through the albums proceeds perhaps do not understand the significance of a microgenre aiding in their rehabilitation but I think if they could say thank you they most certainly would.
Relics Abound was announced via social media where you had to respond with an aesthetic appropriate emoji and then you would get an advance code for the album. I replied with something along the lines of wand, fairy, magic and got my album. This sort of cloak and dagger stuff is part and parcel for Keys to Oneiria (also Fogweaver, Snowspire, Windkey Tapes, and formally Fabelglade). Keys to Oneiria could be thought of as the main vessel which travels into a hazy world of lofi ambient populated by a majority of the creator’s projects. Relics Abound is the first full length from Keys to Onieria since 2022 but also comes shortly after a split with Dream Chalice. Over the years I have written many things about this project and related label which I feel is the torchbearer for an artistic spirit keeps dungeon synth strong. Liminal, unassuming, and completely apart of another plane of existence, Keys to Oneiria comes whenever it wants to, often without any announcement, and with releases that continue to astound.
33:33. 1 track, 16 different parts. This is magic. Ithildin has been working tirelessly on a seemingly giant project sonically illustrating a book on Middle Earth flora. I think we are to the Gs and 5 volumes in. While this project would occupy most of the time for anyone, Ithildin takes occasional breaks. The last break was a dungeon synth tribute to Pink Floyd with The Hobbit At The Gates Of Dawn, this time a progressive electronic ode to artists like Mort Garson and Dominique Guiot, >Music For 18 Magicians: A Story Of Fairies And Bugs might be filed under the genre of dungeon synth but its untamed optimism allows the music to take flight into something that feels like the coolest 70’s electronic album that no one heard since it never got transferred to digital. Music For 18 Magicians: A Story Of Fairies And Bugs is an experience which results in listening to something that you have no idea where it is going next and the unexpectedness is apart of a wild ride with faeries at the wheel. Ithildin’s work has always been a strong indication on the futility of thinking dungeon synth is one style or sound as the enormous imaginations of these artists could never stay in one place for too long.
Trollslayer is from Canada and I wouldn’t have known about this lest it coming on my recommendation feed through Youtube. By the looks of the the art and the number of views this video that is six days old has, I am going to assume other people are as enthusiastic as I am. It is not hard to figure out why this type of music would be appealing to people. Trollslayer styles themselves as AD&D inspired and in fact the projects debut, The Pact, is entirely dedicated to the 1985 adventure module Temple of Elemental Evil. The music and art is entirely bare bones with Bandcamp pages using the original art from the 1979 modules. You would most likely see this album art inside a softcover adventure book while you read flavor text. Despite this (or most likely because of this), The Pact succeeds as an escapist dream with simple immersive music perfect for background OSR adventures or focused listening on raw medieval music. As a fan of old school RPGs and dungeon synth, Trollslayer was certainly a recommendation for me and I am sure I am not alone in this.
Chaucerian Myth, my heart and soul. St. George And The Dragon was released in 2022 but is being brought to greater attention by the UK label Fogged Entity with great looking tapes … that are already sold out … fantastic. Chaucerian Myth had a legendary debut with the 3.5 hour dedication to The Canterbury Tales. This debut was followed by continual experimentation with micro-genres and literature. From noise to Yanni covers, to continual releases with 10+ minute tracks, this creator inhabited the spirit of lone artist melding universes whether anyone understood or not. St. George And The Dragon, maybe two years old but it is also a great gateway into the world of its creator. This is a love letter to the DS world circa 2016 where everyone was online and continuing to see how far the genre could bend before it broke.
This is less of a split and more of a bundle of music made by witches who live in the woods. Count Valefar could be another project by Coniferous Myst or actual synth made by vampires. Magic of Change is from Russia with a hilariously spooky Bandcamp picture that I laugh at but am kinda unnerved by. Both of them have come together to produce a split of somber castle music complete with classic DS, dark ambient, and perhaps some forbidden spells. Split MMXXIV takes the aesthetic of two transimissions from other worlds that were hastily recorded to at home tapes as if it was phantasmal evidence of a haunting. Coniferous Myst and related projects have always had a stellar aesthetic and the combination of cosmic esotericism combined with raw production and it is something that wont appeal to most people but for a small audience it is everything they need.
Disquieting is the work of US based musician Avery Bradshaw. Even though Bandcamp tags can be made out of thin air, the collective descriptors of “ambient, electronic, progressive rock, atmospheric, cosmic synth, dark ambient, doom metal, drone dungeon, doom, dungeon synth, new age, post rock, post-rock, and winter synth” are perhaps all present and most likely playing at the same time. This is the sonic palette for Disquieting who plays in a DS+ which is dungeon synth plus perhaps two or three other things. Noctambulant builds upon this constructing a dungeon synth record much like the fantastic artwork which feels silent, regal, and surreal. Where as the previous record Empty Throne Amongst The Stars was perhaps made from a place of sorrow, Noctambulant takes those same ideas and adds layers of refinement to perhaps the best release from the artist to date.
There is little information regarding Wind in the Withered Hollow which is contrasted by the tome of lore that comes on the Bandcamp page regarding each track. This artist is also from Chicago and comes via Wrought Records so there is a good chance I have talked to them at some point and not known it. The lack of information is only fancy as even without anything, Old Valley Tales the debut release by this project is near flawless in its presentation of dreamy hifi dungeon synth. part video game soundtrack part progressive environmental music, Old Valley Tales is the sound of plants having a symphony when no one is around. If you are a big enough dork to be into new age or environmental music, Wind in the Withered Hollow is reminiscent of Inoyama Land and this is something I am absolute ecstatic people are exploring.
Wallachian Opulence Productions is apart of the Great Lakes Dungeon Synth Collective and also the workshop in which its creator presses esoteric pamphlets to hand out to the townspeople during twilight. Following the success of 2023’s Iarnă, the project Bruxa returns with Omăt, a continued exploration of the very popular sub-style of winter synth. Dedicated to not only the sounds of classic dark ambient but also contemporary practices of winter synth, Omăt offers a meditative place for anyone to come and sit out in the field while being slowly drown3ed in snow. For anyone interested in this minimalist sound, the rest of Wallachian Opulence Productions offers wonderful music including 2024’s The Lands Between by Fanged Imp. It is music for a party of one and will most certainly be held outside.
The Dungeon Steps was released on April 1st which could have been a big gag if people still did April Fools jokes anymore. The combination of dungeon synth and dubstep with even the album title as the punchline seemed perfect for a fleeting joke. It could have been if it wasnt do so good. Bxkrug is from Austral;ian and has been literally doing everything combinting dance music with the aesthetic of dungeon synth. Not all of it works but at times it does. Though dubstep might have negative connotations due to the popularity it gained int he late 2000’s there is currently (or maybe always) been an appreciation for its heady dark atmosphere. I do not know where Bxkrug fits in this as it is too contemporary for dungeonsynth too lofi and geeky for dubstep. Perhaps it will go off and live somewhere new maybe some fantasy warehouse down by the city docks. Perhaps this is music that goblins listen to when not harassing adventures. What is known is that the two styles go surprisingly well together and basslines in songs like “The Woods Howl With an Ancient Spell” and “The Astral Clocktower” are stupidly good. Dungeon synth was built on the spirit of innovation.