The order of a quiet medieval kingdom continues, the motions
and energy synchronous with nature, the death and decay in balance with the
life and energy, side-by-side. Castles
rise, already ancient, and stand as a beacons power for centuries, until becoming
ruinous haunted tombs, stone corpses on the horizon. In the heart of this realm lies a single
ruler, cloistered in the top of a forgotten tower, the beating heart of
majesty. Through the mystical vision of this god the world and its inhabitants come to life, subjects to the will of this power, whatever that will might be.
Skarpseian is one of the best dungeon synth
artists, and not just of recent times.
He seems to pick up right where Mortiis left off, not simply recreating
the wheel, but expanding upon the pure vision.
The themes and general tone here are similar to the previous album, Skygge Slottet,
however Tan Gil proves that there was more to explore in this
territory. The best comparison to Skarpseian would be Mortiis' first three
albums, and in fact the progression of Tan Gil seems to almost follow a similar course, with the beginning being a detached blurry daydream of a desolate dark age scene, hidden in fog. This path changes a bit with Krysset Fjellene, which is an entrancing ambient, meandering track, a hard thing to do well. It feels like a
breath of smoke gently drifting past the trees and off the cliff into the
ocean. Then the transition from this
track into the next one, Tengel, is a very striking force. The abrupt, violent shift has that perfect
feeling of decadent power, a black tyrannical uprising.
Many of the synth voices here will be familiar: horns, strings,
woodwinds, and of course the timpani heartbeat.
However these tones often have some sort of characteristic that distinguishes them, especially in the second half of the album. There are also a few distinctive synth
tones, not directly relating to any real-world instrument, that stand out against the backdrop of grounded medieval imagination, for
example the spacey tone that appears in the latter half of Tengel and the surreal
warbling tone around the middle of Til Fjellet Grav, very unique atmospheres.
What does the atmosphere of this album specifically refer
to? It's hard to say. I'm sure the song titles have some relevance,
but as to the actual feelings that the music evokes, it's a bit more vague. Of course diseased castles are prominent,
foggy medieval landscapes, forgotten myths and battles, and other classic medieval fantasy themes, however there is
also something else. That something else
is what makes dungeon synth worth listening to.
It's that atmosphere of mystery, that unformed image that seems
familiar but still forgotten, as if it were somehow an obvious memory, yet can only
be reached in the unconsciousness of dreams, completely inaccessible to the waking mind.
