Hail, travelers!
It took me a while, but I’m glad I managed the finish the report in a reasonable amount of time. If you’re interested in reading part 1, just follow the link to my previous post. If you want to know more about the festival in general, then I recommend you read the report I made for Dark Dungeon Festival 2025.
I do hope you’re prepared for more, because I’ve got a whopper in store for you. 😉
Actias Luna (ES / PL)
Dreams can take you far. Joan Llopis Doménech is the living proof of that saying. He is primarily known for his artwork in the scene, but he also has a Dungeon Synth project based on lucid dreams he experienced years ago. Through dreams, he experienced a fantasy world as a female knight. In a way, Actias Luna is a tribute to the dreamworld he experienced, complete with dreamy symbolism and ditto atmosphere. He hopes the dreams will return one day, but they have been absent for years now. Needless to say, the dreams have had a huge impact on him as a person and as an artist.
Being a substitute is not easy. People had expectations which can never be fulfilled. I was one of those people who were really looking forward to Athelas, but I was pleasantly surprised when I discovered Actias Luna would fill in. Stylistically, it’s a wonderful blend between mid-paced, bombastic Dungeon Synth with an emphasis on pounding drum beats, occasional ethereal choirs and electronica firmly rooted in Berlin School. Joan himself describes his project as Oniric Dungeon Synth in reference to dreams.
He entered the stage with a simple coif and cloak after which he presented the audience with what I guess must have been a hand painted figurine of a luna moth of his own making. The response from the audience was warm, encouraging him to commence the set with Eclipse. The sound was a little bit too shrill at the beginning, which was especially true when Perseids kicked off, but it improved as the gig progressed. Speaking of which, Perseids ushered in an early highlight. It is such a masterful track you can’t help but swing your head to the infectious rhythm while simultaneously throwing your fist into the air. His request for applause during its climax was met with enthusiasm; the majority of the audience clapped along to the electronic beat as he became fully immersed with his own music. The rest of the set couldn’t quite compare to this magical moment, but that doesn’t mean the rest of the gig isn’t worth mentioning. He is a very talented artist, and the response from the audience confirmed that statement. Another highlight of the show came during the closing track Tornarem a les estrelles in which he lifted a sword victoriously as he continued to play his keyboard. He showed the figure of the luna moth a second time shortly before the gig came to a close. He received a roaring applause for his triumphant performance. Joan was visibly moved by the response he received. It reminded me of what Dungeon Synth is about; human art, unlikely heroes, warmth, and great soundtracks.
So keep on dreaming; you might end up performing at the Dark Dungeon Festival one day as a substitute, and nailing it.
Lichtenthrope (USA)
As stated in the first part of my report, I didn’t see Lichenthrope’s perform. I had to make a tough decision of saving up my strengths, because fatigue was already starting to creep up on me. I do recommend anyone to check it out if you’re into creepy fungoids and lo-fi atmospheres!
Forge of Nova (FR)
This was the act I had been looking forward to the most. There’s something I find very captivating about the melting pot of ethereal synth with influences steeped in bombastic electronica and the cosmic creation myth he and Bleunwoann have given form to. I’m a big fan of both Blood Furnace and Sterevenn, two albums which were released earlier this year, and which deserve everyone’s full attention if what I have just described interests you. His costume was quite simple, even though I’m not sure whether the cloth coming from underneath his hood was supposed to be a long beard, an impressive collection of tentacles or the physical manifestation of a cosmic spirit. A detail, I understand, but it intrigued me nevertheless. 😉
Our flight across the galaxy began with the first two tracks of his latest release. Having been blessed with an excellent sound and a flawless execution, both You are Sterevenn and Budding Greed left a great impression so early in the set. The visuals of countless stars, pulsars, nebulae and other wonders besides definitely added to the experience. Behold the Forge was a fantastic addition to the setlist, which allowed for a lot of swaying heads and fists in the audience, but the true highlight came when I heard the first tones of Power & Conquest. I knew it was a first class track of epic proportions, but it was even better when played live. I closed my eyes and pictured myself traversing the vastness of space, seeing all the glittering stars and countless opportunities the universe has to offer. I found the whole experience cathartic, all my worries gone for one magical moment in time. I was at peace, and it brought tears to my eyes. I had to steady myself as the track came to a close, lest I would want to stay there. I felt kind of blue returning to earth’s soil, but the closing track of the set was an excellent choice for one final shot of cosmic adrenaline. Curiously, though, I couldn’t identify which track the set ended with, for it was unknown to me. It was quite fast-paced and extremely catchy. Is Baddoar already working on a new chapter of Forge of Nova? Time will tell, but it sounded positively epic. The one track I missed was Cradle of Creation (I knew the members of Fragmented Memories were present), but I’m not one to complain. It was a performance which will stay with me for years to come. It was perfectly paced and equally executed.
I had to ask myself as I sipped my beer after the show: could anyone else top such an extraordinary performance this weekend?
Spoiler alert: They couldn’t, although Tales under the Oak came very close. Baddoar is a genius!
Faydark (USA)
I didn’t know Vale Minstrel and Faydark were the same person until the moment he entered the stage, but I was pleasantly surprised when I did. It’s clear RPG’s such as Dungeons and Dragons have had a huge impact on him as a musician, but Faydark is a more obvious tribute if you’re familiar with the Forgotten Realms setting. However, it is a different beast when compared to Vale Minstrel. Faydark is much more complex and bears much longer compositions. There are many fine details ready to be discovered in both Faydark albums, but I have always thought some of the tracks missed focus, so I was curious how this would play out live.
He received a warm welcome and wasted no efforts in answering the crowd with splendid renditions of excellent tracks such as Cormanthyr, Menzoberranzan and Shadowdale (that infectious melody during its closing minutes will remain with me and my friends until the end of our days). He played with a lot of gusto, which was answered in kind by the audience with cheers and yahoo’s. However, there were a couple of elements which held me back from . The overall pacing of the chosen tracks were a little slow, the compositions were quite long and somewhat similar in structure, which made it difficult for me to keep me focused on the music. Perhaps I was still too euphoric after Forge of Nova’s set, but I had this feeling I missed something. I think the tracks were just a little too similar in nature for me at the time. I think the excellent buildup of my personal favorite Faydark track Zin-Carla could have lifted that spell, but he chose not to include it in the setlist. That isn’t to say the performance was a disappointment; I just missed something, but that is not his fault. He played perfectly with good sound quality, and the audience clearly appreciated some D&D-inspired music.
So as it stands, I think Faydark is perfect background music for a D&D campaign, but it is tricky to bring that to life in a live environment. Perhaps a dynamic backdrop or a slight change to the setlist might have helped with the immersion on my part. I’ve enjoyed Faydark, but I enjoyed Vale Minstrel more, realizing both projects are very different.
Descort (FR)
Descort was also an act I had been looking forward to very much. His spellbinding combination of musicianship, French poetry and talent for storytelling is breathtaking. I happily invite you to have a look at the Youtube footage of his performance at Echoes from the Dungeon Fest earlier this year if you haven’t; I’m sure it will leave an impression on you if you have a soft spot for France during the Middle Ages.
However, there were signs the performance would not go as smoothly. Even during setup, I had heard miscommunications between some of the volunteers related to the equipment on stage, resulting in wasted energy from the people involved. This was only the beginning of a dramatic turn of events. Descort took off with an amazing start (despite subpar sound quality), especially after Vale Minstrel / Faydark had walked on stage to accompany him with what looked like several instruments. Unfortunately, the sound suddenly died as the first track reached a climax, leaving him dead in his tracks and the trance lifted. He remained seemingly undeterred and after a couple of successful sound checks he resumed his performance with Notre-Dame de Paris et le Festival des Fous. Things weren’t running smoothly; the sound quality wasn’t as good, and I could see Descort was fearing the worst. Indeed, the sound failed a second time a couple of minutes later into the track, prompting Descort to cancel the performance entirely with a gut-wrenching dommage (translates roughly as “such a shame”) which I will remember until the end of my days. I don’t blame him; the bubble was pierced a second time and additional checks would result in delays, limiting his set severely. This was the best decision he could do, even if my heart wept at his resignation. I would not wish this on any artist, least of all a talented and loveable man such as Descort.
I think there was an issue related to the power distribution between different electronic devices. Seeing that Descort needed a lot of equipment to make the experience work, I believe the power distribution was simply too flawed at that point in time to contain all the elements. The organization of the festival offered public apologies to the artists involved and the fans (addressing miscommunication may have been the cause), prompting them to announce Descort will receive a higher spot on the bill next year. It is a small consolation, but it really is the least the organization could do for him.
I truly hope he will get a chance at redemption next year.
Forlorn Citadel (SW / AUS)
The show must go on. It rings especially bitter after such an emotional anticlimax, but it also serves as a consolation for those who come after. It’s never easy to pick up the pieces after such an unfortunate turn of events. It befell to Forlorn Citadel to resume the music in earnest, and we would be getting a worldwide live debut at that. During setup, I heard Solace (the man behind Forlorn Citadel) say to the sound team “As much reverb as you can get, then triple it.” Dungeon Synth is no stranger to reverb, but this seemed a bit extreme. Me and my friends were joking about it (I thought it deserved to be on a t-shirt), but there was also genuine worry after the debacle which had befallen Descort.
Forlorn Citadel is a project I’m quite fond of. I am a big fan of An Oath Undone and the latest EP Visions, the latter not in the least by the female vocals. Imagine my delight when I realized the majority of the set revolved around these two releases, and, more importantly, that Aquitaina would join the stage for the entirety of the set. She was more than a backing vocal; she truly elevated Solace’s music, especially during compositions where she wasn’t originally involved in. There was one slight caveat, however; no electric guitar was used during the performance, not even as part of a prerecording. It was a bit anticlimactic at first (especially during Ironclad), but I do understand why Solace did not include any guitars. It kept the Dungeon Synth spirit alive and it might have rendered Aquitaina’s singing inaudible. In a way, it felt like an acoustic set, which is meant as a compliment. Credit should also go to Solace himself as far as performances go, whose infectious and visible emotional outbursts were a thing of beauty. He was thrilled to be there, as were we.
Unfortunately, there was one big elephant in the room which I feel needs to be addressed: the sound quality wasn’t great, which was especially true during the performance of the set’s closing track Rusted Steel. There was one element in the music which was severely out of tune, so much so that it detracted from the experience. Even Solace’s inspiring and Aquitaina’s angelic voice could not quite undo this issue. It was a shame things had to end on a literally false note, but I do believe it was a memorable performance overall. I see a big potential, and a bright future ahead of them if they decide to join forces indefinitely.
Kyvon (USA)
I tend to regard occasions where bands or artists play albums in their entirety as a double-edged sword. You know what to expect, so pleasant surprises related to the setlist are simply impossible. On the flip side, if it’s a great album, then you know exactly what you’re going to get. In the case of Kyvon’s appearance at the Dark Dungeon Festival this year, it was announced well in advance he would play Frozen Grimoire in its entirety. Kyvon was largely unknown to me before I had delved into the announcements of the festival, but I do get why many have come to regard this release as an essential listen for winter synth albums, as my recent review testifies.
Frozen Grimoire contains wonderful compositions. Approaching the Ice Lord’s Tower sets the stage and tone, but it’s its successor where the magic really begins. I closed my eyes and allowed myself to get completely immersed by Frosty Wind and Magelight as the icy magic enclosed me in my mind’s eye. I was in a state of deep immersion, completely enclosed in a world of my own. I repeated this trick when Chilly Foyer came around.
As much as I liked these moments, there were issues which made me return to planet Earth. There was a constant buzzing noise in the mix which I guess was unintended, but it was especially noticeable during Chilly Foyer. However, a much more irritating problem were a couple of drunken louts who clearly could not hold their drinks when drinking Belgian beer, spoiling great executions of Within the Chambers of the Ice Cave and King Garnash's Final Symphony with their loud and incessant chatter, which ended abruptly with the shattering of glass which the perpetrators didn’t bother to clean up. I realize I sound bitter about the whole situation, but that’s simply because Kyvon deserved better. Fortunately, if he noticed anything of the ruckus, then he didn’t show it, nor did his performance suffer because of it. He is a great performer, and I hope to see him again someday, hopefully in better circumstances.
Tales under the Oak (DE)
Comfy Synth has garnered a lot of popularity over the last couple of years, and Tales under the Oak is one of the main reasons as to why. His powerful blend of storytelling and Comfy Synth laden with tribal influences combined with a whimsical fairytale spirit manages to pull at many people’s heartstrings. This became very apparent the moment he put on the most impressive hat of the entire weekend, the crowd cheering and whistling enthusiastically when he did. It was the start of a moment I’m not shy of calling magical. A concert, I’m sure, which will live on in people’s memories for a long time. Please take into consideration my awful picture does not do it any justice. I was standing a great deal in the back this time around, but I did want to give you an idea of just how awesome his hat was!
The artist is a natural-born storyteller with a charisma the size of a mountain (even though he himself is quite short 😉 ). His skills as a musician are impressive, but he pays great attention to the physical and visual details as well, using many elements as part of the act such as using a beautifully crafted staff as a rattle, a collection of bones and/or sticks on a string to add some ritualistic mysticism, the aforementioned hat, a green felt cloak and a compelling voice when he speaks to the audience. That voice is a particularly powerful element, a sonorous vibrato pleasant to the ears with traces of throat singing, and it is essential to lift the performance to a higher level. It is the sum of all these things which make Tales under the Oak stand out, making it a full experience. If anything, the performance made me forget all the troubles the world is going through as I’m writing this report. This was partially because of the words the artist had carefully chosen to include in one of his speeches, hinting at authentic human unity whilst enjoying a shared experience rooted in fantasy and escapism. Speaking of speeches, there was one humorous instance where he was clearly building up towards a climax with a rousing speech, which was then followed by unintended silence. It was an authentic moment, a spark of innocence which made the performance even better because of that imperfection. There are many highlights I could call upon, but my personal highlight was an enchanting rendition of The Toad Alchemy, a track I deem to be the perfect lullaby. It was brought with so much passion and such (soft) force it brought me right into the Toad King’s swamp. We were all sorry to see him go as the show (because that’s what it was) came to an end, but I’m sure the Toad King will receive a warm welcome next time.
Maybe all the world needs right now is a little bit of comfy synth to make it a more beautiful place. I realize that sounds incredibly naïve, but I truly believe Tales under the Oak is a wonderful project that makes the world more beautiful. That is the best compliment I can give to any artist, for they live to make the world a beautiful place, whether they realize it or not.
Smrtan (PL)
Smrtan is rightfully considered a pioneer within the Slavic Dungeon Synth scene. He was at the helm of Nirnaeth in the Nineties, which was long before I jumped into the world of Dungeon Synth and Dark Ambient. Other than that, I had not done any research, so I went without any expectations. He describes the Smrtan project as Pagan Dungeon Synth, so I envisioned an act involving folk instruments and references to a bygone age. That’s not what we got in the end, and I’m not sure how I should interpret this act, although fatigue may have had a hand in how I digested his performance.
On the one hand, I heard perhaps the most beautiful piano melodies of the entire weekend, while at the same time struggling to find a clear structure in his music. It was very atmospheric and minimalistic to a fault, to the point where I found very few hooks to hold onto. I think he tried to invoke a sense of serenity while playing his piano as gently as possible, but I’m not sure. Whatever the case, my legs and back were starting to hurt really bad, so I had to sit down and have a couple of drinks to regain my strength, for I really did not want to miss Gothmog’s gig. I missed the second half of the set, but I was simply becoming too tired for music as subtle as Smrtan’s. I think that’s a shame, because there were wonderful things to be found here. I think it just wasn’t the right act for me at the time. Perhaps an earlier time slot might have worked better.
Gothmog (DE)
There was a great sense of anticipation prior to Gothmog’s performance, but both Smrtan’s attempt at bringing dreamy atmospheres and the long day had taken a toll on our stamina. However, many fans were still eager to attend the closing act of the festival. We knew it would be Gothmog’s final concert, and people were stoked for it. Unfortunately, Gothmog started their set with a delay of twenty minutes, which was far from ideal after one or two days of attending concerts. I could really feel its effect on the audience as time passed, including myself. The very atmospheric and minimalistic piano melodies leading up to the concert were increasingly testing our endurance rather than build up the tension in a good way. Some people were starting to become cranky, too drunk, or too tired.
However, the mood changed immediately when they finally entered the stage at 23:55. The exhaustion made way for enthusiasm as people were pouring their last ounces of energy into this final appearance. The crowd cheered and applauded as RAL entered the stage with his signature mask, but it erupted when we heard the starting tunes Intro, when we heard the mighty kettledrums during masterpiece Blood drips from my Sword, and when Olli entered the stage. Speaking of which, it was a surprise to see the charismatic vocalist in a white robe. Many people were clearly expecting his black and reddish armor he wore on previous occasions, but I guess he wanted to make a statement, this being the final ever performance of Gothmog. I also would like to think this was a nod to their concert with A Spell Enraged back in 2025, in which Olli wore a white costume and similar hat.
Of course, there were very little surprises as far as the setlist was concerned. Medieval Journeys was played in full, but it should be noted many tracks have a different feel to them when played live. If anything, it sounded as if the elements of A Spell Enraged and Gothmog had been put into a blender to create an interesting amalgamation of the two. This was especially true when Olli spoke or sang, for he added his own slightly melodramatic flourishes and pronunciations to the mix. He also included a rite of sorts with sand, which wasn’t always easy to see. To be honest, I think his mild stage antics suited him better this time when compared to 2025, but that’s also because very little was known about A Spell Enraged at the time and people were unsure what to expect of that particular project.
They took off with an amazing start, but the slower mid-section of the record did invite that pesky ghost of exhaustion to creep up on us. This was not the fault of the band; they played their instruments exemplary, Olli was having a blast and willing to share his enthusiasm, and the sound was overall quite good, although I would have appreciated a thicker guitar sound in the mix. It was just becoming too late for a lot of people, and I knew many were waiting for their excellent Summoning cover of The Passing of the Grey Company, myself included. The time leading up to that cover was excruciating, which wasn’t helped by the fact that RAL’s whisperings (which lasted for several minutes) during A View Into My Abyss could not be heard because of the low volume of his microphone. For a moment, it felt as if they were not going to play the cover at all, but that changed when Olli reentered the stage in that signature costume we’ve come to appreciate greatly. He cheered the crowd and spurred us on to squeeze out our last drips of energy. We were happy to give it to them and it was a fitting end to a great journey. I knew they would do at least two more songs which were released earlier this year, but me and my friends left after the cover. We thought it was a fitting end to a memorable weekend, and we feared we might become too exhausted if we had stayed any longer. There was still the short trip to the hotel to consider.
An important question begs to be asked, however: Will RAL ever wear his legendary outfit again after tonight? Time will tell.
Epilogue
Thus the first day reached its conclusion. It was time to tuck into bed, for another day filled with adventure was waiting just around the corner. It may take a great deal of time for me to write the second part, because no less than ten projects graced the stage with their presence that day. A day involving great live acts, unadulterated joy found in escapism, and one unfortunate case of artistic tragedy.
I can look back at yet another great edition of Dark Dungeon Festival. I yearn to return. It isn’t as memorable as Dark Dungeon Festival III, but that’s simply because of the impact that first edition had on me as a person.
Personal highlights:
- Best performances: La Tour Sombre, Forge of Nova, Actias Luna, Tales under the Oak
- Getting to meet Baddoar.
- Finding a Balrog CD and the split record of Cimerion and Oublieth (Arcanes).
- Having a taste of Super Triple au Rhum while eating the excellent boar stew.
- A tour of the beer museum inside the castle (free of charge if you are attending the festival).
It is great to know we will have a new edition in 2027, but I do have some suggestions for improvement which I hope the organization will have a look at as we get closer to Dark Dungeon Festival V.
Suggestions:
- There was a large selection of drinks, especially those coming from the local brewery, but one important thing was missing; There were no energizers of any kind. No coffee, no tea, no hot chocolate, and no energy drinks. I couldn’t help but feel a lapse of my energy every once in a while (especially during the second day), and I’m pretty sure I wasn’t the only one.
- There was one act too many on Saturday. I get that DDF wants to become bigger, but I think we have reached limits of what a two-day festival in the castle can take. Leave out one or two acts on Saturday next time; this will allow the volunteers to take a breather. I’m sure the festival will not suffer for it. Also, the festival’s tough schedule is pretty brutal on the fans as well. Speaking of which…
- Trying to stick to the schedule became an occasional issue, which resulted in some delays. I’m not sure if this was due to actions of the volunteers, the artists, a combination of both, or simply an overloaded schedule, but especially the aforementioned delay of Gothmog wore heavily on everyone involved, including the fans. Having the last act quit at +/- 01:30 am is simply too late. Also, I believe Descort might not have faced as many difficulties if they had had just a little more time to set everything up.
- The only way you could have possibly known about the event was through social media. The website of 2025 showed some information, but this was not the case for the edition of 2026. If I didn’t have a FB account, chances were I would have missed out. I would suggest to update the website next time. In a time where many people have a social media burnout, I think this would help in notifying these fans.
I will say these suggestions do not overshadow yet another wonderful adventure. It’s a gathering of great people, carried by a small group of fans, artists, labels and volunteers. It’s that sense of camaraderie and love which I missed almost immediately the moment DDF III had ended, and which I felt again when I left this year in the dead of night. I hope to talk some of the guys more on a later occasion, but I realize my social ineptitude sometimes gets the better of me, reducing my conversational skills to that of an awkward fool (like mistaking Lone Sentinel for Vale Minstrel or not finding the right words when talking to John Lordswood).
My thanks go out to all the Dungeoneers and volunteers who were present. You are the best. I hope you enjoyed this read. I, from my part, hope to publish a new report in 2027. Meanwhile, the quest for better pictures continues.
Until next time!
#dungeonsynth #festivalreport #livedungeonsynth #livemusic #music #darkdungeonfestival
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