The History of Dungeon Synth
Introduction
Dungeon Synth is a style of at-home made fantasy synth. Despite its name and aesthetic being a modern incarnation, dungeon synth’s early history is rooted in the 1990’s black metal scene, when its members created ambient synth projects and circulated those releases through tapes. These black metal side projects laid the groundwork for dungeon synth’s atmosphere and ethos regarding aesthetics, production, and distribution. Today, dungeon synth has become a diverse genre and cottage industry with tape labels, forums, festivals, and an international fanbase devoted to its history and development.
Branching out from its "dark dungeon" beginnings, the genre has a diverse sound which includes neoclassical, lo-fi, new age, noise, medieval, drone, and even chiptune music. Dungeon synth is primarily a solo endeavor with the same person writing, playing, producing, and distributing the music. The music is done either through hardware synthesizers or through virtual studio technology (VSTs) in a digital audio workstation (DAWs). Oftentimes, the tape you are buying is packed and shipped by the person who made the album.
Dungeon synth has a small but active community mostly based on forums, discords, and other social media platforms. This network has been built since the 2010’s when it became a microgenre following the creation of the Dungeon Synth blog by Andrew Werdna. Since the 2020 pandemic, Dungeon synth has seen increased attention leading to an influx of new artists, live shows, and a creative boom which is still in the process of happening. Dungeon synth, despite being an international community is small with the space between fans, labels, and artists almost non existent.
Below is a starter guide written KAP. This is not an exhaustive list of all dungeon synth projects or history as there are many more you can find. If you're interested in the works that inspired Andrew Werdna to create the dungeon synth brand, he preserved his original list (plus updates). For a more general history of popular dungeon synth albums from past to present aggregate and user based charts check out sites like Rate Your Music's top dungeon synth list. The point being do not take any one list (even this one) as gospel when it comes to seeking out a genre. Use lists as tools in your own exploration. Happy delving!
First Wave (1990-2000)
Dungeon synth in the 1990’s was a loose collection of black metal side projects and dark ambient projects mostly from Europe and the US. The albums were circulated through tape trading networks as well as record shops, usually in the same place as the connected band. The majority of early "dungeon synth" was fantasy focused, often with Tolkien and Dungeons & Dragons being its primary aesthetic. The history of 1990’s dungeon synth is a retroactive collected and restructured by modern fans of the genre. Some of the original creators of this music are now just being made aware of interest in music they made decades prior.
Mortiis - Født til å herske (1994)
Håvard Ellefsen, better known as Mortiis, is a project which is almost synonymous with classic dungeon synth, or at least the history of dark medieval synth. Mortiis to few was the bassist for the black metal band Emperor from 1993 to 1994. Mortiis to many more was a milestone in the development of what was then called dark dungeon music and a waypoint for future composers to model their sound. While Mortiis would make a variety of music, it is his “Era I” records or the releases that span from 1993 to 1999 that would become the center of reverence. Født til å herske (Born To Rule) is a 53 minute song split into two parts, which brings the listener into a world of cold and uncaring passages that snake around the undercroft of a long abandoned castle. Between shadows and sunlight, Født til å herske is dramatic in its approach to cast emotion and atmosphere in a macabre play. The interplay with the keyboards and mixing is something that is both commanding and immersive. Mortiis’ instance on the repetitive melodies that make up this song is a cornerstone of classic dungeon synth, as the music becomes a meditative chant used to transpose oneself to distant places. Mortiis would go on to explore different styles in the 2000’s before returning to his legacy as an alumni in the wake of the dungeon synth revival. This music means a lot to its creator and, though a lot of Mortiis’ image is the punchline to internet jokes, Født til å herske and the majority of Era I is a testament to the power of this sound.
Depressive Silence - II (1996)
Depressive Silence is perhaps one of the most popular if not most celebrated early dungeon synth projects. This is perhaps due to the fact the band started as a parallel project to the melodic black metal band Mightiest. Members Andreas Kreiler (Ral) and B. Schmidt (B.S) were both guitarists / keyboardists who created a synth entity for the 1995 split with Mightiest. While Depressive Silence’s second release Depressive Silence II is perhaps the more iconic release, with its cover almost being symbolic of dungeon synth. In the haze of mist and fallen ruins exists the whispers of entities that offer no guidance or reassurance. Depressive Silence II is a solitary adventure with an opening that could be one of the banners for classic dungeon synth. Both Ral and B.S. would go on to make one-off projects with a final release in 1997. These releases all happen to be some of the best music made in this time period. Other albums by its creators, Solanum – Spheres Of Time (B.S) and Gothmog – Medival Journeys (Ral) are essential and worth exploring for anyone interested in this time period.
Wongraven – Fjelltronen (1995)
Wongraven is the work of a Satyr well known as Sigurd Wongraven from the Norwegian black metal band Satyricon. Fjelltronen stands as the only release from the project outside of a 6 band split with Darkthrone, Neptune Towers, Storm, Isengard, and Satyricon: Fjelltronen’s history is rooted in Norwegian black and folk metal and its sound reflects this atmosphere with a 32 minute escape into fog ridden lands stalked by choral chants, soft acoustic guitar, and piano melodies. The success of Fjelltronen, and Wongraven in general, is the nebulous nature of the sound as it does not rest on a sole genre but rather gather a cadre of similar styles under a banner of grim atmosphere. The cover for Fjelltronen is a cropped image of Til den grønne ridder by 19th century Norwegian fantasy painter Theodor Kittelsen. Not only was the same image used by black metal act Carpathian Forest for their EP Through Chasm, Caves and Titan Woods but Kittelsen’s works were also used by Burzum, Satyricon, and a host of modern dungeon synth artists. Fjelltronen remains a staple in classic dungeon synth as its bridge to black metal both in style and spirit.
Jääportit – Kauan Koskematon (1999)
Kauan Koskematon is the debut full-length from Tuomas M. Mäkel also known as Jääportit. While Jääportit lacks a black metal connection, it makes up for it with a strong foundation in the substyle of winter synth as well as a consistent output during the dark period of the 2000’s. On the project’s website, Mäkel writes the inspiration for the project centered around the work of Mortiis as well as darkwave and neoclassical works from Arcana and Dead Can Dance. This nebulous origin produces itself in one of the most modern sounding records. Jääportit could exist in 2020 and be lauded for the approach to frozen landscapes, which are iridescent in the moonlight. Kauan Koskematon’s embrace of drone and regal melodies exist in icy embankments and would only be underscored by the artwork from Aslak Tolonen (From the Finnish neofolk band Nest). Winter synth would go on to become one of dungeon synth’s most popular substyles which, even though it borders on the edge of existence, is still a style that draws in listeners with an invitation to a glacial court.
Secret Stairways - Enchantment of the Ring (1997)
Secret Stairways was the solo project of US black metal musician Matthew Davis. Davis would lend his talents to the 90’s black metal project Blackened Chapel as well as the gothic darkwave project Twelfth of Never. Secret Stairways was his somber synth project that saw releases in 1997 and 1999. Both album’s music was backed by the same sense of melancholy that would haunt most of Davis’ music, but a sense of twilight wonder with 1999’s Turning Point reached the zenith of production for these self released projects. Enchantment of the Ring has become iconic for its production and sense of wonder which creeps across the ground like fog. For most, Secret Stairways would reach a wider audience decades after its initial release and years after the suicide of Davis in 2011. Both Secret Stairway releases now stand as a shrine to its creator, who seemed to be a mage capable of marrying melody with a lingering sense of loss and grief.
Lunar Womb - The Sleeping Green (1999)
Lunar Womb was a project started by Henri “Trollhorn” Sorvali known in other circles as the guitarist and keyboardist of the pagan metal band Moonsorrow and keyboardist for Blackened folk metal project Finntroll. The Sleeping Green was intended to be the third demo for the composer, following two other dark ambient releases (released on Meat Hook Productions who also released Moonsorrow records as well as Sorvali’s other project Woods of Belial). For various reasons, the third demo was shelved until 2015 when Sorvali found the tracks and intended artwork for the record. Additionally, 2015 was also the time when dungeon synth was experiencing it’s modern revival, which led Sorvali to remaster the tracks and release the long awaited demo. The Sleeping Green is caught between two worlds, as it was originally intended to be from the late 90’s but has now had the benefit of cleaner, more modern production. It is now we can hear Sorvali’s vision, which combines the folk melodies heard on Finntroll and Moonsorrow releases with the atmosphere of what would later be called dungeon synth. The result is a sound that is both enchanting and immersive, and is the best soundscape Lunar Womb produced, as it saved an unintentional blueprint for modern dungeon synth.
Modern Revival (2010-Present)
In March of 2011, Andrew Werdna wrote on his newly created Dungeon Synth blog "Dungeon synth is the sound of the ancient crypt. The breath of the tomb, that can only be properly conveyed in music that is primitive, necro, lo-fi, forgotten, obscure, and ignored by all of mainstream society. When you listen to dungeon synth you are making a conscious choice to spend your time in a graveyard, to stare, by candle-light, into an obscure tome that holds subtle secrets about places that all sane men avoid."
Up until this point, this type of music had no name and was coined by this writer out of interest to collect music which had a "weird naive magic." Werdna focused his efforts in collecting music from the 1990’s which fit this type of aesthetic and wrote reviews on his blog. Over time, newer artists who were also interested in this time started to create music under the name "dungeon synth." Dungeon synth, during its early revival days, existed on MP3 blogs before moving over to Bandcamp as its premier platform. Around the time of the 2020 pandemic, dungeon synth moved from an internet only genre, to a live genre with local scenes of musicians working in person to create music.
Til Det Bergens Skyggene - Til Det Bergens Skyggene (2011)
Til Det Bergens Skyggene is a German artist who is also the operator of Voldsom Musikk — a label specializing in black metal and dark ambient. Til Det Bergens Skyggene is a project that was responsible for 5 releases in a few short years before ceasing. The third and self titled release has grown in legacy in the dungeon synth scene for its reverence to the classic sound of the 1990s. With a focus on texture and ambience, Til Det Bergens Skyggene, the album, moves at a glacial pace across a landscape of fog with only shadowy outlines of trees and ruined structures. If limbo or the desolate landscapes of the afterlife had a soundtrack it would most likely sound like the track “Skog, Natt Og Stjerner.” This is a record that does not approach pleasantly and, in fact, it does not approach at all. Rather, Til Det Bergens Skyggene walks ever forward through the growing opaque wall of fog uninterested in anything but the crawl of time. It is aloof, magical, and completely uninterested in being accessible.
Erang - Another World Another Time (2013)
For many during the modern revival, Erang was their first exposure to dungeon synth. This came through a compilation video put out by this French artist simply titled “2 hours 30 minutes of Dungeon Synth, Medieval Fantasy Music by Erang.” It was a simple video that provided 2 hours and 30 minutes of background music for reading, playing games, or whatever the user wanted. I feel there is something omnipresent about Erang as the music seems to touch every aspect of the sound. Another World Another Time catches the artist as they climb out of the classic dark ambient sounds of Tome I-IV to to craft a world of imagination and wonder. If I could offer any one record which I feel captures the variety in dungeon synth, it would be this. Additionally, 2013-2015 would see some truly fantastic works from Erang and this release is indispensable in one’s journey into dungeon synth.
Fief - II (2016)
Fief is a wonderful artist to start with in dungeon synth as it is a very popular sound among fans. In fact, Fief may be one of the most popular dungeon synth artists, which is no surprise given the string of amazing releases. Rather than a direct narrative, Fief’s five albums are vignettes into a medieval world that might or might not have any sort of fantasy elements. This is a long campaign in a low magic world that is filled with just as much danger and excitement as other more dragon-filled narratives. I feel Fief is popular due to both accessibility with the production as well as a charm in its minimalism. This is tavern music for the weary traveler and while there are few patrons, the hearth is warm and roaring. Though all of the albums are wonderful, Fief II remains one of the more popular releases and is a perfect place to start.
Thangorodrim - Taur-nu-Fuin (2016)
Taur-nu-Fuin was a monumental record on its release. I remember when it came out there was something that changed about the scene as its release pointed to a new benchmark for direction. With it’s cover, which worships the aesthetics of second wave black metal, to the sweeping labyrinthine sounds, to the obscure Tolkien lore, Taur-nu-Fuin was a champion of the classic sound that lay in the graves of Mortiis and Wongraven. With four songs and a running time of 50 minutes, Thangorodrim is intense in its need for commitment. This is not background music rather a passage into corridors that lay far out of the reach of sunlight. I would urge people to listen to this release for nothing else than to experience classic dungeon synth in a modern incarnation.
DIM - Compendium I (2017)
DIM represents history being made as, since the release of this Canadian artist’s debut, has only become a foundational record in what people see as dungeon synth. Far from the dark dungeon sound of early dungeon synth and its revival period, Compendium I showcases neo classical and medieval folk in a lush atmosphere devoted to sacred music. This split from the pagan and satanic beginnings in black metal represents a new split in what could be considered dungeon synth and shows a record that might have been one of the first in an ideological split with the past.
Hole Dweller - Flies The Coop (2019)
Hole Dweller continues what could be seen as a new era for dungeon synth. This US artist has had many sounds over the years but Flies The Coop was perhaps many peoples’ entrance into dungeon synth. It is whimsical but it is raw. It is magical as well as somber. It was also a sound that was unheard of five years prior. When I discuss modern classics, I think of records everyone might be familiar with. Flies The Coop was the sound of a hobbit house in the afternoon and presented low fidelity not as an adversarial aesthetic but something comforting. This sound would be later explored in full with the comfy synth boom a few years later but for now it was the gentle croaking of frogs and the gentle melodies of tea time put to tape and then played for a year before reaching the right level of fade.
Fogweaver - Spellwind (2020)
Few records have captured the imagination of listeners as Fogweaver’s. This is perhaps due to the tireless workflow of the creator Evergreen and their related projects. Spellwind was released in February of 2020 a few months before the pandemic would shut down most of the world. In hindsight it was a time when everyone was uncertain and anxious and perhaps a record of calming melodies dedicated to the lore of the Earthsea novels was what everyone needed. Fogweaver would have many albums after this as well as other dazzling projects through Windkey Tapes as well as related projects. If any creator can be seen as a pillar in the contemporary dungeon synth community, it is Evergreen and their entire creative catalog.