“I certainly sold a lot of tapes during the pandemic. I think there was an interest in collectibles (physical media of all kinds) because collecting is something you can get into when you’re stuck at home. For dungeon synth specifically, I definitely gravitated toward transportative music when I was stuck at home. Popping in a tape that takes me to Lothlórien during lockdown may be escapist, but also felt necessary at times to get through the day to day.”
Bell, Book, & Candle
Looking back on the catalog of Realm and Ritual, there are many names one would recognize. There are also, and perhaps more, names you would not recognize. You most certainly have seen the logo of the bell, book, candle combo combined with the old English font has been adorning close to 200 releases. Since 2018, Realm cast its web over a large segment of the dungeon synth and black metal world. In fact if one would think of a place where realm and ritual would be located it is in the marches between the styles but most certainly a village that looks spectral and looming from a distance.
“I started Realm and Ritual in summer of 2018 with the goal of releasing black metal (and adjacent) tapes. I started releasing DS the following year with small runs of tapes from Darksol, Wooded Memory, Dust Seeker, and Vandalorum. My plan was still to primarily release metal but after attending Northeast Dungeon Siege and Dungeon Siege West in 2019, plans changed. Initially, I appreciated the story-telling and sonic palette of dungeon synth but I wasn’t fully invested until I saw it live and got to know people in the community.”
At each of the live events, the Realm and Ritual table was clad in mostly darkness from the monochromatic tees and black fabric which adorned the booth. This was offset by the electric candles and fairy lights which provided medieval level reading light so the customer could read the sometimes illegible band logos. The album covers and merchandise from Realm and Ritual is more akin to the dark dungeon aesthetic of the 1990s with covers looking like they were left out of a witches’ hovel than anything comfy or cute. Realm and Ritual could be mistaken for a noise or raw black label but underneath is a vast catalog and history of weird synth curated by an unassuming person behind the table.
S.G is the creator of Realm and Ritual and the person behind the table who talks to you while you buy these grim shirts. S.G is the vocalist for current sludge doom band Lunar Ark and prides himself on being apart of dungeon synth as a collector, fan, and promoter for new releases. This is what was enchanting about this community or any music at this level. The label owner is the fan with nothing really separating them from anyone else except for a stack of tapes and a few electric candles. While still accessible to everyone they are still held in regard by everyone and continue to be pillars of the community not only for releasing music on tape but the support of emerging acts in the scene.
I was talking to S.G at the TXDS event about doing this article. We were in the section with the booths between Attic Shrines and Weregnome Records. The merch booths were in a strip between the bar area and the performing area which means it was a merchants alley which not only sold products but allowed people to fans, artists, and labels to connect and meet in person. While I was talking to S.G, I saw other artists, fans, and labels all talking to each other and making arrangements for future collaborations. This event, like others, was in person a version of message boards and forums which this style of music once entirely occupied. The cottage industry which once was entirely occupied by the digital sphere has now spilled out into the streets, or alleys between the bar and stage.
While S.G and others like them are just fans, I was surprised at the level of business acumen or wisdom that was shared in terms of running a label. This shouldn’t come as a surprise though as S.G has developed a far and shrewd compass when navigating the world of underground synth music. Perhaps this is why the Bandcamp page has a short note declaring “FUCK NSBM” as if to welcoming fans of dark music but bar entry for the few troublemakers who try to sneak in. Underneath the soft demeanor and beyond the wall of grim looking shorts is a label owner and fan who is extremely good at interacting with people and most importantly being organized.
Interview
What would you say was your most popular release to date and why do you think that is?
In terms of most items sold, it was the double-cassette release for “Revolt & Regicide” a charity compilation featuring Realm and Ritual artists and collaborators. I think this was the most popular because of the incredible roster of contributors, the cause (all proceeds were donated to GiveDirectly, a program that provides direct cash transfers to people experiencing poverty in the US and and Africa), and the amazing artwork by L.F. OSR.
Popularity should be an easy metric to establish–items sold and dollars earned–but given most of my releases were relatively small runs (100 or less) that sold out relatively quickly I don’t have a definitive answer. I know that as a business, I should be narrowing my scope and doing more reissues (and I certainly will) but I like the label being a vehicle for new releases.
What would be your most “obscure” release in the way you think people didnt get it or it went under noticed?
Nahadoth – Drought (Drones) / Crystalline Bunker. This was a recent-ish compilation tape featuring two sonically aligned drone releases from Adam Matlock. Side A is dungeon drone, a shimmering sun-drenched recording of a lone keyboard that Adam did in the middle of a scorching August day. Side B is an icy ambient recording that is beautifully contemplative and gives the sense of a hermetic retreat from a fierce blizzard. The tape has a double-sided J-card so you can display whichever cover art you’re feeling at the moment. I think some people haven’t fully embraced Adam’s work because it doesn’t fit neatly into the traditional DS box and sometimes fully evades the fantasy synth tag as well. Between his various projects there is orchestral stuff, jazzy improvisation, new age worship, operatic vocals, and accordions but somehow everything he creates feels spiritually in-line with DS. Also it’s incredibly good.
If im releasing a demo what is a good way to get interest and what is a great way to get rejected on site (aside from obvious sketch)
I’ve actually been thinking about writing a guide for submissions because there are a lot of considerations that may not be obvious to a new artist.
- Artists submitting should be familiar with the label: Realm and Ritual is a tape based label that releases dungeon synth / black metal and some adjacent styles. I’ve made my political stance very clear over the years and don’t want to work with bigots or right wing shitheads. I likely won’t respond if you send me a power metal album or a Keller Synth demo, request a vinyl release (when we’ve never worked together before), or you’re wearing an Absurd t-shirt in your promo pic. I also award additional points if you’ve bought tapes from me before or support other tape labels: I’m always surprised at artists who want their music released on a format they don’t have a personal investment in.
- Send a streaming link: I want to be able to click something and hear music without downloading a folder to my computer. Make it easy and send me a soundcloud link, a private bandcamp stream, or a google drive folder with MP3s.
- Unreleased new music is preferred: There is so much music being released that it’s hard to keep up with. The best way to make an impact with new music is to do some promotion before the release of an album. Doing an announcement, artwork reveal, streaming premiere etc. helps build anticipation. It’s easier for me to promote something new than an album released a year ago on Bandcamp with two supporters. This isn’t to say I don’t ever release music that may have been overlooked on initial release, but it does make the whole process more difficult.
- Provide context: I don’t need a full on press-kit but would really like: A brief bio. Your name, project, and some background information (where you’re from, how long you’ve been active with this project, what are some of your influences). A description of the album. DS especially thrives on story telling and world building. Even a few sentences about the inspiration behind the album can help me get a better feel for the release. A google drive link with artwork (No AI), song titles, maybe a promo picture.
As a label what are your thoughts on the use of AI in music? Do you worry about being fooled by someone submitting AI generated music as a submission? Does that matter to you?
AI art sucks. It is both unethical (“creating” only by stealing human art) and unremarkable as it lacks the human touch necessary to create something meaningful. I do worry about being fooled by AI music have not yet adjusted my submission process. It may be necessary at some point for musicians to show their work in the same way a digital artist may provide a sketch before completing a submission. Also, playing live offers an elegant solution to the worries that music may be AI generated.
How do you go about finding new acts. How is this different than when you first began?
When I first started I spent a lot of time listening to new music–mostly on Bandcamp–and reaching out directly to artists. I built a lot of relationships this way and will still occasionally reach out after finding something great but for the most part prefer to rely on submissions. I definitely prioritize artists that I already have a relationship with but still love hearing new things and love getting submissions (especially for The Demo Series).
What are your thoughts on dungeon synth becoming a live genre from an internet genre?
I appreciate the fact that DS has very much come into its own as a live genre and the live performances are what sold me on the genre in the first place. Being at Northeast Dungeon Siege in 2019 absolutely changed the way I thought about music and the focus of my label. However, I like that there is music geared toward live performance (Redhorn Gate comes to mind) and music that only exists on a few tapes from anonymous artists that will never been seen live. There is something great about that duality.
I foresee it continuing to grow both as an internet curiosity and a live genre. I love the fact that more festivals are popping up (partially because of the incredible proof of concept from the creators of NEDS) and hope to see Dungeon Synth artists touring more and creating a network of places to play live. Also, somewhere down the road someone is going to get sponsored by Dr. Pepper, it’s only a matter of time.
5 Releases from Realm and Ritual
I was fully set on blurbing each of these releases when I asked for 5 albums that showcase Realm an ritual. S.G was kind enough to blurb them for me even though I didn’t ask. I don’t expect label people to do all of the work in these article since they are gracious enough to answer my questions but it is always wonderful to hear them talk about music they are deeply familiar with.
Magic Hilt does an incredible job of creating music that is simultaneously triumphant and melancholic. There is a decayed aspect to the songs–a kind of warbled warsong–that showcases the frailty and sadness of combat and conquest.
Orcus (Sam of Vicious Mockery, Landsraad, Silent Protagonist to name a few) creates enveloping fantasy music; music that captures the essential spirit of adventure in a way that is both succinct and majestic. Rite of the Sickened Hand is one of the few Orcus tapes I’ve had the pleasure to release and is the perfect soundtrack to a D&D campaign or a night of point-and-click RPGs.
Apoxupon’s How the Garden Grows is one of my all-time favorite ambient releases (let’s call it nature synth) and I talked to Anthony at the time and told him how much I wanted to release the next Apoxupon album. Nameless and Formless sounds nothing like How the Garden Grows but is equally as compelling; a cosmic journey through a darkened universe and a fully immersive listen with incredible atmosphere.
After releasing the Kuruwa Trilogy from Castlerock (Honmaru, Ninomaru, and Sannomaru), I got the chance to do this standalone release. I love all the Castlerock material but this one hits the hardest emotionally. The instrumentation is a bit sparse at times and it allows for these gorgeous melodies to blossom over the course of the songs. There is this podcast I listen to where the host asks the interviewee what song they want to hear before they die and “sacred bridge” would definitely be in contention for me, it’s just a perfect song.
King Vatra is the dungeon synth outgrowth from Berlin based artist Andy Aquarius. This album was recorded in an abandoned church in Croatia and the sense of place captured in the atmosphere is impeccable. It’s minimalistic in a way that feels hypnotic and something I would really love to see live one day.
The Demo Series
Tell me about the demo series how it began and what it is. It looks like a special extreme low run set of releases?
For the first few years of the label, I would hand-dub shorter run tapes and get anything larger than 50 professionally duplicated. When promoting releases, I would mention how they were dubbed but there wasn’t any separation between pro-dubbed tapes with pad printed shells and the tapes I dubbed in real time and hand-stamped. Both had RAR catalog numbers. I wanted there to be a separation so that label supporters knew exactly what they were getting when they picked up a tape from me.
I had the idea of operating a sub-label as a love letter to DIY tape production focused on limited run releases at the lowest cost possible to listeners. This idea became The Demo Series. I wanted every aspect of the release to go through my hands–I created the layout and then cut and folded the Xeroxed J-cards. I dubbed all the tapes at home in real time, monitoring the recording throughout to ensure that the final product sounded good.
I create 30 copies of each tape. I don’t like the idea that people will miss out on the tapes due to the short run but it’s a time intensive process for me to do everything by hand and record in real time. I don’t make money off these releases–I charge $5 which covers the cost of the cassette and the printed materials–I do it because I love tapes as a medium and feel that they work well sonically and aesthetically with niche genres such as dungeon synth.
For this release asked for three releases from the demo series. As stated before there was nothing sonically different from these releases than professionally other than the handmade aspect. Dungeon synth for all of its changing aspects retains some core principles and I believe one of the strongest is its DIY ethos. This is perhaps why there has been so much discussion about AI use in music making and art since underground music has been a way to operate outside of mass production. S.G didn’t make this music but there is something that is tied together with these releases as choices and communion were made with this music enough to handdub 30 copies and stamp each one. Its okay if you don’t own an actual tape as this project much like some of the best labels out there look at tapes as an art project rather than a commodity.
I enjoy anything that starts out like a tape is being played. winter Solace originally came on a handmade tape of 6 copies before the Realm and ritual demo series. Much like the cover, the music is a meditative walk through snow covered ruins which both evokes feelings of sadness and resolved. there is most certainly a melancholy here in the music but also a peace which one attains after resolution.
Forsaken Kingdom is the debut from musician Kevin Fitzgerald of the thrash band High Command. Fitzgerald most certainly could have swung for a bigger release than 30 handmade cassettes but it is a testament to not only Fitzgerlead’s vision but also Realm an Rituals aesthetic which draws musicians from all stations.
I just mentioned Snawfuss in a previous article on Fiadh who was also chosen for showcase. Being from Alexandria, I am in full support of Virginia based DS. Northhill is a split between Snawfuss and fellow Virginia and DS veteran Foglord. The two create a magical world with local flavor which is somewhere between medieval and nature worship which exists in another world.