Seregost is a familiar figure in the Dungeon Synth scene. He has been performing live quite often for years now (a feat only a few can say at this point in time) and as such has become a “regular” of sorts whenever a large live Dungeon Synth event (especially in the US) takes place. He enjoys every second of it, and seeing him as a live performer is infectious. Even though he has performed under the alias Seregost for quite some time now, he hasn’t performed quite as much with his other project up until recently, that project being Valen.

Valen is a very different beast altogether. It is the lighter counterpart of Seregost, but lighter does not guarantee a softer approach; it just plays out differently. Whereas the latter is a born fighter ready to vanquish his demonic foes in a land scourged by black sorcery, Valen is the knighted brother who values the deep history of his world and the dramatic heroics which have taken place there. This is only figuratively speaking; I do not know for sure if Seregost and Valen both live in the same world. I know the artist puts a decent amount of worldbuilding into his projects, but if there was a connection between the two characters, then I must confess I couldn’t find it. Two elements of consistency retained from Seregost are its grandiosity and, of course, Dungeon Synth.

Viarum consists of only four tracks, but the overall length is 33 minutes, so we get a serious bite of music. We get, for the most part, long and carefully crafted Dungeon Synth. It starts off with the majestic “In War and Triumph”. What starts off as a somber marche funèbre slowly develops into a triumphant victory declaration. It is quite clear Valen favors the use of brass elements, choruses and heavy percussions very much. It was the same on “Dragon Crown”, and it gets a return here. A remarkable addition is the use of bagpipe arrangements, giving the opening track a soaring and dramatic flair. However, it must be stated that the amount of layers used in this track is what some might perceive as a bit extreme, but I deem this many layers is necessary for Valen’s vision to work. As the amount of layers increases when the track progresses, we get mental pictures of a lone knight on foot who stands victorious after a particularly bloody and decisive battle whilst kings of old watch him proudly from above. Tragedy and triumph go hand in hand here. The title was expertly chosen.

“Legend of the Mysterion Gates” does things differently. The percussions are a bit more on the forefront here, which I think works out well. We get a chorus which reminds me of Gregorian chanting, which is always a plus in my book when put to good use, yet what really comes as a pleasant surprise after a couple of minutes into the track are female voices forming a choir of their own. Male and female voices seem to come together towards the end of the first half (subtly so), which is the real climax for me. One could argue that there’s no real progression in the track in a traditional sense, but then again, Dungeon Synth was never a music genre famous for its fast approach or intent of working towards a high climax. This track is first and foremost an exercise in creating a mystical atmosphere, more so than its peers on this release. I think of it as an oracle who lives in ancient ruins with dormant gates who might possess the knowledge to travel from one world to the next whilst showing us around wordlessly.

We then get to the big whopper of the release; “Viarum” stands tall at 13 minutes in total length. We get a similar start like “In War and Triumph”, but intentionally omits the triumphant touch. Instead, Valen seems to aim towards a higher purpose: hope. Melancholic and meticulously slow in execution, the track “Viarum” seems bent on pulling us away from the darkness of tragedy and pushing us gently into the light of the sun. Not to make us happy, but to at least offer us comfort when we need it most. Again, the amount of layers can be a bit much and it is slow (even for Dungeon Synth standards), but I cannot deny that the track makes me joyful, perhaps even relieved. As if I’ve just lived through the hardest of times and came out alive and well. Music is a medium able to change the mood of a person almost instantly without the need of stimulants or which offer comfort when words fall short. The title track is a prime example for me in this regard on both accounts.  What really helps is the perfect blend of both male and female choirs.

“Ancient Magick” is the closing track of the release. It is the shortest composition by far, which makes it a stand out in and of itself, yet the true stand out is the use of only female voices for the chorus elements. There’s a simple keyboard melody guiding us towards a midnight sky filled with twinkling stars. Viarum then comes to a closure serenely, as if we’re wondering if the Mysterion Gates we found in the second track lead to worlds orbiting one or several of those very same stars. Perhaps we should reach out for them and visit that oracle again?

If you’re looking for slow, epic Dungeon Synth with a taste for the dramatic, then you’ve come to the right place. Put on some headphones, turn off the lights, and see if you can find the Mysterion Gates yourself.

Fenix Silvermoon approves, and declares: