# Dungeon synth

Dungeon synth is a genre of electronic music that merges elements of black metal and dark ambient. The style emerged in the early 1990s, predominantly among members of the early Norwegian black metal scene.

## Characteristics

The genre employs aesthetics and themes typically associated with black metal juxtaposed to the typical heavy tremolo-picking, blast-beats, and harsh, shrieked vocals of black metal by way of compositions of instrumental or ambient music commonly used as introductions, interludes, or "outros" in black metal, death metal, and heavy metal albums throughout the 1980s and 1990s. Though often paired with medieval and fantasy motifs throughout the 1990s onward, some prominent contemporaries of dungeon synth reject the excessive prevalence of high-fantasy themes. Dungeon synth is contentiously likened to video game music, due to fantasy influences, the usage and layering of synths, and a focus on ambience, however this has been rejected by acts including Mortiis have rejected the influence of video game soundtracks on dungeon synth.

## History
### Precursors

Dungeon synth is derived from black metal and dark ambient. Prior to the pioneering of dungeon synth, the influence of instrumental, electronic music had made its way into the early Norwegian black metal scene, with Tangerine Dream and Klaus Schulze influencing Mayhem, Emperor and Enslaved. Mayhem's debut EP Deathcrush (1987) even opening with the Conrad Schnitzler composition "Silvester Anfang".

### Origins

The progenitors of dungeon synth are Mortiis and Burzum, who both originated from the early Norwegian black metal scene: Mortiis being formed by Håvard Ellefsen, the bassist of Emperor; and Burzum originating as a black metal solo by Varg Vikernes of Old Funeral and Mayhem. Under starting Mortiis, Ellefsen embraced the influence of Tangerine Dream, Klaus Schulze, Skinny Puppy and Enigma. Mortiis' first demo, clocking in at just under an hour in length, marked the first time a musician made use of black metal aesthetics on a release that contained entirely instrumental and non-traditional black metal instrumentation. The second iteration of this demo tape would be the first time Ellefsen would use the phrase "dark dungeon music" to refer to its style. Mortiis went on to be a major performer of this genre and the style is heavily prevalent in early releases such as Født til å Herske and later releases from the return to the "Era I" sound, chiefly Spirit of Rebellion. Other prominent contemporaries of the genre include Old Tower, Sombre Arcane, Thangorodrim, and Depressive Silence.
Vikernes cited Das Ich, Dead Can Dance and Pyotr Ilyich Tchaikovsky among influences on Burzum's ambient aspect. While, Finnish dungeon synth musician Tuomas M. Mäkelä of Jääportit has cited Dead Can Dance and Arcana among their influences. Robert Nusslein (founding member of Ritual) of Casket of Dreams has listed Tangerine Dream, Velvet Acid Christ, Dead Can Dance, and Death in June among his influences.
In 1993, Danish one-man synth project The Dark Funeral released a demo, which is occasionally invoked alongside Mortiis' earliest works as another example of nascent dungeon synth but the project quickly ended after releasing two demos. That same year, Jim Kirkwood published two works which would retroactively be touted as influencing early dungeon synth music: Through A Dark Glass and Tower of Darkness. 1994 saw the publication Pazuzu's ...And All Was Silent, which is now a part of dungeon synth canon.