Malfet has garnered a great reputation in the scene the last couple of years, and with good reason. What sets him apart from many other Dungeon Synth artists is his delicate touch. The man himself calls his music Pastoral Dungeon Synth, which I think is apt. Pastoral refers to living on the rural fringes of human society, where purity is found in tending sheep and listening to oral traditions and stories. Thus, I believe that a significant portion of his inspiration comes from nocturnal nature and the peace found in a simple life, despite references to Arthurian Legends (especially regarding Sir Lancelot), mythology, and literary fantasy. Another remarkable characteristic which define Malfet’s work is the talent of composing gentle music with an aura of sadness pervading the tracks. Not gut-wrenching grief, but rather comforting melancholy. It reminds me of a tragic, world-weary storyteller who still holds belief in the truth behind the wondrous stories and myths which surround his land, and loves to narrate them to whoever is willing to listen. “Dolorous Gard” is not an exception (after all, the name itself is a hint), and bears the same trademark sound, even as the last notes of the album come to a close.

We hear nocturnal ambience and sound effects throughout the entirety of “Dolorous Gard”. All songs flow into one another seamlessly. Malfet takes us on a midnight stroll, relaying the stories which took place close to the land where he lives, creating a metaphoric bridge between several worlds. His tracks are filled to the brim with details, never losing sight of harmony and hints at both great joy and sorrow. The opening track “Meadow of Shattered Lances” is a perfect example. It starts off beautifully with owls hooting, crickets chirping, small bells chiming, and the soft croaking of frogs before a gentle drone of a keyboard and approaching hand drums herald the beginning of a midnight walk through the forest on our way to see the meadow. We even hear sporadic flute melodies subtly woven in the composition. As we walk down a forest path, Malfet recalls the events which have taken place there until we come at a great opening and we see countless shattered lances scattered amidst the grass. Tranquil sadness sets in. The tone is set.

“The Perilous Path of Loss” starts a bit more threateningly, despite the soft chimes of bells you would normally find in cultures in Southeast Asia which often serve as an essential part of meditative session. There’s definitely an air of oppression in its first forty seconds when we hear heavy percussions, but a swaying melody takes away the worry for the most part. Malfet first gives us a warning before continuing the walk. He then tells a dramatic story which contain heroic deeds, yet it remains a tragedy nonetheless. As if wanting to say: do not fear death, for it is part of life. It is a topic he will come back to later.

The highlight of the album for me are tracks number three and four. “Ride for Ruin” is a lovely tribute to the charge of the Rohirrim during the events of the third book of The Lord of the Rings. It starts off quietly, before drums of war reach ever closer and we see the Rohirrim in full view. They have ridden through the night in hopes of reaching the city of Minas Tirith in time and are now charging down the Pelennor Fields, rays of the juvenile sun granting them more strength as they charge into the hordes of Orks. Many lives are lost, but the deed is done. Hail the victorious dead, indeed! No sooner has it ended when we hear a side from Malfet which we have not heards before. “To assail the Thresholds of Woe” starts off with the drawing of a sword and the loud bang of a gong, signaling the start of a heroic arrangement many Fantasy Synth artists can only dream of. This is without any doubt the most epic composition Malfet has created at the time or writing. A clever twist lulls us in a sense of ease near the halfway point (as if to catch breath) before a catchy synth melody heralds the start of the climax. All registers are opened when pounding drums compliment the synth wonderfully. Slowly but surely, more layers are being put on top of one another until we get a climax which I can only describe as enchantingly inspiring. You better believe I’m ready to assail those thresholds!

The problem with a climax of this magnitude this early in the record is running the risk of losing focus. While we do not reach the same level again, there’s still more than enough to discover on “Dolorous Gard”. “The Tomb which bore his name” is a bit more solemn, the title track has a ghostly voice subtly hidden within its song structure, “Garden of Delights” retains some of the grander character traits displayed in previous compositions (it even includes choir elements!), “Bifröst ascends” is by far the most merry track, and in “So Short a Season” we get a return of the flute. However, one of the most remarkable tracks lies in its closure.

The album closes with “Molly Enthroned”. We hear the trickling of water, a comforting drone, and the soft tolling of bells accompanied by the same delicate keyboard notes we have come Malfet to appreciate for. But then we suddenly hear the hobbit Pippin of all people. We hear his conversation with Gandalf when they are trapped in Minas Tirith, their doom upon them, whilst contemplating the prospects of the afterlife. As if Malfet bids us goodbye after our midnight stroll to ponder the many stories we have heard. Then the album ends, and we feel at ease, but not without feeling a little sad and joyful at the same time. Genius.

“La forteresse de Contresort” and “Ensorcelleuse” are exemplary compositions necessary for the pacing of the record, but lack a little bit of character when compared to the other songs on this album. Still, Monarque himself speaks to us in distorted French during the former, like a dark wanderer or denizen we came across on our trip by accident and who might be the only one to help us out of this astral nightmare.

Fenix Silvermoon approves, and declares: