If there is a torchbearer for the Australian Dungeon Synth scene, then it would have to be Lord Gordith. In fact, he is currently among the most popular Dungeon Synth artists around. His reputation for simple and short compositions is a callback to RPG soundtracks of the Nineties, and he strikes a nostalgic chord here in my case, as is undoubtedly the case for many of his fans. However, Sword and Circuity (such wonderful wordplay!) was a bit of a divisive record, despite liking it very much. It was the first record of Quest Master I ever heard, and I think it contains some of Quest Master’s most immersive tracks (most notably Viridian Bells and Hanging Gardens of Chrome). Despite this, it is a big departure from his earlier works. The innocent fantasy adventure soundtracks made way for techno-fantasy and crystallized robotics.  The difference can’t be unheard. Is this a problem? Not in the slightest, but it was definitely a surprise the fans didn’t see coming.

Musically speaking, I believe Obscure Power serves as an anachronistic bridge between Sword and Circuitry and older works. The theme of Obscure Power seems to be an amalgamation of the same fantasy industrialism we were introduced with in Sword and Circuitry, magical corporatism amplified by a mysterious netscape, ethereal sky realms, and the awesome power of airships. Right off the bat, I get visions of stepping aboard an airship which wouldn’t look out of place in the classic Final Fantasy games (somebody remember the Flying Fortress all the way back in Final Fantasy I?). We take off and soar through the clouds as the details of the world below become ever smaller. What lies in wait just beyond those clouds? Take the helm, and let’s surf those winds.

There are some notable differences when compared to earlier releases. Grid of Exile has clear electro influences towards the end. Silicon Rainforest has elements which remind me of Asian music. I would go so far as to assume OST’s of certain JRPG’s may have played a significant during the conception of Obscure Power. The perfect blends of the “old” and “new” Quest Master would have to be Ethereal World Plaza and Flowers of the Netscape, the latter being my favorite track of Obscure Power. It starts with an all-too familiar synth melody we have come to know and love, but before we realize what’s going on, we have already taken off, and see rows upon rows of semi-translucent flowers and clouds alike fly by. It is very upbeat, which again seems to be a callback to JRPG music.

An important edge Obscure Power has over Sword and Circuitry is its mastering, courtesy of Dan Randall. The sound is lush, crisp, and slightly more bombastic than its predecessor, allowing for a more organic sound. The unexpected result is that it gets pretty close to synthwave at times, which is a pleasant surprise for me. It even bears similarities to music you would find at old-school fairs. This is especially true for tracks such as Corporate Crystals and the aforementioned Flowers of the Netscape. Deliberate or not, I think it’s wonderfully innocent, and adds elements of wonder and nostalgia. It is what makes Lord Gordith a master (no pun intended) of his craft.

The one point of criticism I might have, is that the tracks on Obscure Power are a little formulaic in nature. This is not a huge problem, but it should be addressed that the compositions aren’t as varied as was the case with Distant Realms, Temples, and Castles. I understand this may be an unfair comparison when an artist is in a creative flow, and it isn’t a dealbreaker for me, but fans should be aware of this when they give Obscure Power a go. I would certainly recommend giving it a spin; there might be some elements which may appeal to the fans who embrace the older records. For those who were fans of Sword and Circuitry: you will be far from disappointed, for I believe it’s better than its predecessor. It’s true feel-good music bereft of the compulsory nature of pop songs. I love it.

Fenix Silvermoon approves, and declares: