Note: Spencer and I became Instagram acquaintances sometime in the past few years. Honestly, I forget when . Most of our interaction was talking about the Grateful Dead, teaching, and also the numerous movies he would watch and interview since I don’t watch TV or movies so I used him as a way to keep up with what was coming out. I started to notice he was going to DS shows and because we lived int he same area pried into his life further. Spencer isn’t new to critical media analysis but DS is new for him. I enjoy hearing new perspectives from people, especially locally so I asked him to review five new records of anything that came out in June. I am expanding my DS digest to include guests since it helps me see more things i might not have found. If you would like to help me feel free to email. Enjoy his writings and you can follow his film journeys at @theresonlycinema on IG.
Spencer
UK’s neoclassical adventurer, Villien, brings offerings of beauty, adventure and Medieval ambience on their fourth outing, Book of Trismosin. Villien has continued to make a name for themselves as one of the foremost purveyors of fantasy-ladened tracks that fit perfectly in any Dungeons and Dragons campaign. There is always a wonderful atmosphere of hope, heroism and Dark-Age adventure within the tracks of a Villien release and this most recent release does not break from tradition. I have also been in awe of the genre’s ability to sound seemingly both archaic and utterly contemporary and Villien has again proved that both can be achieved with uncompromising grace. Given the name Villien, you would think that this creator believes they are indebted to a far-off feudal lord, but it is I that feels beholden to the beauty of Book of Trismosin. Legend of Zelda fans take special note as the final track, Beedle’s Song, can also be found in digital on the 2023 compilation A Vicious Tribute to The Legend of Zelda, via the Vicious Mockery label.
The Withering Prince himself returns for a powerful followup to his debut, and one of my personal favorite releases of 2022, with Moonlit Cryer. As the title implies, expect a deeply heartfelt collection of analog ballads of lost love and lunar gazing. The title track offers a light, ocean-side ambience that lulls the listener into deep contemplation, only to return to the crumbling manor, featured on the tape’s haunting front cover. Although, I unfortunately was unable to witness their debut performance at Northeast Dungeon Siege this past March, the footage made available via the eternal Out of Season label’s Instagram account, suffices as a touching visage of vampiric love languages on parade. This release will undoubtedly make my personal favorites of the year and will no doubt be revered for years to come.
The Majestic End by the Swedish electronic adventurer, Ghoëst, had to be one of the most anticipated releases of 2025 and thankfully for fans, he delivers an epic quadrilogy of meditative, earthy tones that would send even the most amateurish fans off swinging a sword into the great unknown. If you prefer your DS draped in doom and gloom, Ghoëst has you covered as each track trudges melodically towards one of four quests towards defeat. Despite each track’s mournful conclusion, the reader is treated to a bleak, sisyphean waltz towards a familiar demise that feels wholly unique, despite its familiar end. I really do appreciate the lengthier songs on this tape as each track feels like a long fought journey that ends with our hero sitting at the base of an old oak, their breath slowing to a halt.
I love finding dungeon synth releases from either creators or entire labels that feature a broad sense of electronic music. This is not to say I do not hang onto every social media update of the likes of Out of Season, Ancient Meadows, Dungeons Deep, Weregnome, Gondolin and host of other Dungeon Synth-focused labels, but it feels like discovering a gem within the vast ocean of the net. The newest release from Italian label Neotantra feel very much like a hidden DS gem as it hinges less on genre staples like marching synth percussions, but instead vies for more ethereal and figurative ambience that recalls staring upwards through the forest canopies or the calming sensation of inner peace. Probably closer to New Age idealism, the tones here are warm, soothing and contemplative, instead of brooding, dark and mysterious. The musician in question here is the multidisciplinary creator Emanuele Liguori, who hosts an impressive array of moniker and electronic-driven projects that will keep any supporter hypnotised for days. Just as the titles of this record fades into nothingness, you too will be entranced into a deep slumber as I Will Wait Until My Mind Dissolves encourages the listener to do just that.
The thing that initially drew me into the cold, dreary clasp of Dungeon Synth was a foundational love for ambient music. Layered, full walls of cold sound to wash over one’s ears felt like a divine offering, a gentle hand of reprieve from the breakneck speed of social media ads and fads. This listening practice took patience, space and ultimately served as a welcome break from everything else that demanded my attention. What I found DS does especially well is building atmosphere, really plunging you into the depths of whatever setting its creator chooses to explore. This is certainly true in the trudging, bleak depths that German transmitters Kap-Dun report to us in their fifth offering, Wolves of the Atlantic. Between its oxygen-starved confines of ten rapturous tracks, this DS side-project of one-man, Depressive Black Metal act Dunkelheit, manages to submerge its listeners deep below the light of the sun, into something much more isolated, mechanical and lonesome. Committing to the theme is something Kap-Dun does expertly from the low-fi, subterranean artwork, to the ominous Submarine Log written on the album’s bandcamp page, describing “What you’re about to hear is not a soundtrack. It’s a memory.” If this release scratches your forbidden explorer’s itch, do seek out previous releases, exploring the outer reaches of abandoned space stations and accursed ruins, inspired by video games such as Gothic and Skyrim.
KAP
One of the best aspects of running the dungeon synth compilation series is hearing different artists who just want to participate in a compilation. Skeleton Mage’s submission to the adventure compilation “Deathlord Aburcanador and his Skeletal Retainers,” was so surprising in its craft I reviewed Ruinscapes I earlier this year. The Curse of Castle Pale, a new record from this artist, continues to surprise me as where I was expecting more castle drone heard in previous releases, the newest record is full of epic medieval ambient and straight up tavern folk. This dedication to their craft is astounding as the melodies and stories heard in this are from an entirely fictional world. I know this since I emailed the artist to ask since I was curious. This sort of above and beyond attitude when it comes to exploring a popular subject but making it seem entirely new can only be explained by someone with a visionary hold on music. Skeleton Mage feels like a school project presented by someone who put a lot of work into their posterboard and is going to get nothing less than a 100 as their grade.
By now I trust Fiadh enough to venture into their store and pick out anything at random and have it not only be good but made by good people. I already know Wooden Vessels though as this person also moderates the dungeon synth subreddit and runs the biannual Shamble competition. Even outside of the dungeon community service this art does, Wodden Vesslels is the main project for this artist and Rise of the Woodland Empire is the first full length this year following a series of expected community made releases. Wooden Vessels has always been cinematic and I feel that Rise of the Woodland Empire showcases a reverence for old school dark dungeon music but not in its production nor despondency. Rather this is dark dungeon music in its forlorn introspection. The pace for these tracks are glacial but come with a deep atmospheric calm which is immersive as it is evocative. This could be study music or the theme in which the character travels to a new town in search of something lost ages ago.
Whenever I see the logo of Personal Uschi Records, the odd esoteric face of a smiling figure, I know I am in for an adventure. This adventure may involve food but one can never be sure. This is because I rarely know what to expect. It literally could be anything from melodic ambient to straight noise. There are few rules in this kingdom and the latest from Vitreous, a mysterious dungeon chip act, confirms this. Hyrule Castle, shockingly, is dedicated to the world of the Legend of Zelda illustrated in the language of lofi noisy chiptune which sounds like the soundtrack of a Nintendo game recorded onto a portable recorder and then listened to a volume which showcases garbled fidelity. It is both a ludicrous proposition and one that is incredibly effective especially coming from a label which has shown care and craft when it comes to weird shit.
I came across Lazer Throne randomly through searching new releases with the dungeon synth tag. Citadel of the Elder Star, this artist’s debut, looked like some mix between synthwave and black metal just from the cover, and the music inside was not far off from what I described. Tomb of the Lunar Oracle, the follow-up, continues the explorations of space and its limits with the debut full length which can quite simply be described as ambient / atmospheric black metal with cosmic dungeon synth as copilot. The combination of black metal and dark synth shouldn’t come as a surprise in a genre which literally has a giant root running through that very style. Lazer Throne’s handle on atmospheric black metal as well as kosmische styled music as transport vessel to the next planetary body is impressive and comes with stellar packaging, art, and more merch than I ever expected to see for what seems like a one person venture.
Over the course of writing about DS I have to make sure when I make connections between artists since some have a lot of projects. Valen is the work of an artist also behind Seregost and the private label Obsidian Relics. I only mention that for people already familiar with the Barbarian antics of Seregost and how Valen is different. Where one is a thrashing mad warrior plunging into battle, Valen is a stoic king who gazes upon the battlefield with contemplation. It might be a small distinction in the land of fantasy but for those who are on the other side, the world of difference is noticeable. Valen, who has only played two shows — one being GLDS — explores the world of fantasy through martial dark dungeon music and the methodical pounding of percussion signals a musical procession which marches throughout the record. If one thing can be said about Valne, and the creator behind all of these projects is that this world is merely partial home for a creator who live entirely in an imaginary landscape.
Disasterpeace, depending on where you are in the musical world, might mean something different to you. For some, this artist is the composer to games such as Hyper Light Drifter and Fez. To others this artist is the composer for the horror film “It Follows.” To even some, including myself, this artist is the mind behind stellar chiptune and bitcrushed albums such as 2011’s Rise of the Obsidian Interstellar and came from the chaotic time of mid 00’s DIY VGM music. Yuggoth Records, a current synth based label with little relation to VGM music is reissuing this 2011 album via tape and bridges the many worlds. Rise of the Obsidian Interstellar is not dungeon synth by most stretches of the imagination but if you have been in this genre long enough you are aware a lot of people couldn’t give a fuck about lines in the sand and would rather listen to something cool. If anyone is a fan of people making electronic music at home in their bedroom, there is an entire world that just happened during the 00’s and its very bright and energetic.
Immortal Wizard’s Dream was something I came upon by chance since I saw a new DS tape for sale that was under 10$. This genre is built upon the notion that anyone can make a record and put 10 copies on Bandcamp. Tome I, from what I gathered, is a new venture by a musician who just decided to make something. The result is something you would expect but beyond its seemingly expected aesthetics and track names lies an essence which I feel is at the heart of this genre — a naive magic that still works even after so many years and the sheer joy of hearing simple melodies coming from a cheap (I dont know if its cheap or even if its a real instruments) keyboard and sounds like someone exploring worlds by themself from a cozy bedroom.
Filth Eternal is a noise project run by Indole who has also taken many pictures at DS shows over the past year. I know this because I like to know other DS photographers. Over the course of the year I have gotten to know this artist, their xerox art, and also their love of absolutely wretched sounding music. Splits are a great way of discovering artists and Miasmas is a rotting black metal project headed by the writer / poet Finn O’Bryan. Together the two meet and contemplate the meaning of life through echoes, sounds of memory and forgotten futures in a tape that is already sold out through Realm and Ritual.
I may have talked about Library of the Occult before but if not you can follow them on IG and slip into a world where nothing feels quite real enough for you to be sure. Somewhere between imaginary soundtracks and homemade synthwave this label’s aesthetics and lore is as important as its music to the point I am convinced these are real soundtrack from forgotten movies. Whatever I write about this album could be wrong and I am just misinformed. Canyon of Blood is a faux film and its music is made in reverence to 70s and 80s European soundtrack works of many great masters that have long been forgotten. An intoxicating blend of psych, library, surf, easy listening and atmospheric mood music which is steeped in intrigue and mystery. This label has a vibe and all of their art direction supports the world in which they craft which often confuses the listeners and the people who write reviews on it.