Review published on 01/07/2026.

Nautical Dungeon Synth is a small subgenre in an already obscure music genre, but Hillsfar is the most popular by far. One reason for its popularity is artist Maalthir taking his inspiration from a very specific region of the Forgotten Realms setting which you may know from Dungeons & Dragons and countless computer RPG’s. The Moonsea is a region which is often overlooked in favor of more popular coastal regions such as the Sword Coast, the Moonshae Isles, or the Sea of Fallen Stars. I think that’s a shame, because the Moonsea has a rich history. Fortunately, Maalthir (also a reference to the Forgotten Realms) is very eager to tell us about it. Another reason for Hillsfar’s popularity is Maalthir’s play on old-school video game aesthetics. They add an amount of flavor which is difficult to resist if you grew up with games of the Eighties or Nineties. I’ll be honest; it’s what drew me in way back when. The previous releases hearkened back to old PC-games, while Tides of the Moonsea has a distinct Sega-look. Coincidentally, I grew up playing Sega video games, so that's a lot of bonus points in my book.

Predecessor Flames on the Moonsea explored darker, more tragic aspects of the Moonsea (after all, it doesn’t get much darker than the merciless rule of a tyrant wanting to become a lich). This is a big contrast with Tides of the Moonsea, though this isn’t clear right from the get-go. Opening track Jump Ship Jump starts with the same sense of melancholy where Flames of the Moonsea ended. We are about to embark on a new adventure, and already we feel home tugging at our heartstrings. However, the wanderlust grows too strong, and we must away. After about one minute into the first track we realize there might be some surprises in store for us. There’s definitely more electronica involved and the overall atmosphere is much more lighthearted. This is in large part because of the thumping bass drum, a pan flute, and hand drums in the style of bongos. This is very promising, and serves as one of many surprises which we will encounter during our adventure.

However, the real shock (in the best possible way) comes during the second track. Rough Waters starts off with an offbeat electronica rhythm before blending in with the beautiful sound of Caribbean steel pans, the crunchy beat of drums, and the melody of pan flutes, creating an atmosphere which comes very close to laidback reggae music while never neglecting the electronica elements. It is a bold move, but it pays off incredibly well in setting the right tone. It reminds me of the old Monkey Island adventure/puzzle games; relaxing and laden with humorous undertones. The track might be a little bit too relaxed to be travelling so-called rough waters, but I like it so much it doesn’t bother me.

Marooned is a return to a more grounded composition, which is only fitting; being marooned isn’t fun, no matter how exciting it may sound on paper. However, the fine details hidden within the track (birdsong, soothing keyboard melodies, the soft hum of electronica, church bells,…) offer a sense of hope despite our predicament, hope which proves to be well-founded when we hear the synth melodies of Tribes of the Pirate Isles kicking in. This is a track where the percussion instruments take a very prominent role: a combination of hand drums, xylophones and electronic drums form the basis of perhaps the most beautiful track of the entire album (contender with the closing track of the album). It is jam-packed with details, but there is a carefully controlled balance which holds true during the entire album. Now that I’m mentioning it, Arthur Rizk (mastering) and Oberon (assistant mix engineering) deserve a lot of credit for the quality of this release. I’m confident the end result would not have been the same without their involvement.

The next tracks are equally impressive. Scales of the Dragon is a perfect blend of Eighties synthwave and the aforementioned elements of the previous tracks, while The Darkness Behind The Mountain includes a magnificent return of the trumpets which we’ve come to associate Hillsfar with. However, my favorite of this record would have to be the penultimate track of the album. Treasure of the Tidewater Caverns is an exhilarating culmination of all the elements we’ve come across during our electronic adventure, offering a longer composition which gives me the real sense of adventure. The melodies and rhythms work towards a climax which is both electrifying and irresistible. I wasn’t big on pirates during my childhood, but this track makes me believe I missed something.

I have already touched upon the final track of the album a little bit, but it really deserves more attention. Though brief in length, it serves as the perfect closure of our adventure. We hear a beautiful serene piano melody as sighing waves and tropical birds beckon us home. Indeed, we have found a ship and we are on our way home, our treasure secure and stories in our heads which will make our friends and family stare back in awe at us. Indeed, many won’t believe us, but you know it’s true, and that’s what counts. The treasure isn’t the gold we've found in the Tidewater Caverns, however; our lives and memories are what we treasure the most.

I have one small point of criticism: some tracks are a little bit same-y in the build-up, which makes them difficult to tell apart sometimes. The “humming” drone is the main culprit here (which is very apparent during The Lost Continent). While I don’t think it’s a big deal, I do think it’s being used a little too much.

Be that as it may, I take off my hat to Maalthir for his daring new release. He isn’t afraid to explore new themes for his Moonsea Saga, which results in his best release as far as I’m concerned. The tropical theme may not be for everyone, but no one can deny the ambition and the class musicianship he displays on Tides of the Moonsea.  I like it very much, and I see myself returning to the Moonsea frequently during the coming weeks.

Fenix Silvermoon approves, and declares: