Review published on 23/08/2026.

I’ll start off with an odd remark: Dungeon Synth isn’t a big genre in Belgium. Odd, because Dungeon Synth is an obscure genre to begin with. However, this conclusion is definitely true for Belgium. I can only name two acts who hail from my country off the top of my hat. Be that as it may, Victorian Specter is a prolific and quite active artist nowadays. There’s a significant chance you’ve seen him perform live if you been to any Belgian Dungeon Synth gigs the last couple of years, making him a familiar face in the live scene. However, he is quite productive as far as releases go as well, so I came to regard him as the face for Dungeon Synth in Belgium.

I’ve been fortunate to have seen Victorian Specter perform live three times by now. The last two gigs, while different in approach, definitely had a taste for ritualism and the occult, even though his latest performance was a much brighter affair (see blog post #3 for more details). Those who have witnessed his latest gigs won’t be as surprised when they give The Elegance of Vestigia a spin, because he continues to travel down this path with his latest album, and I applaud him for the decision. Thematically, this album is a tribute to Moina Mathers and the revival of occultism at the beginning of the 20^th century, and it shows. There’s an eerie, almost ghostlike (or indeed spectral) atmosphere present throughout the entirety of the album. An important question comes to mind as I listen to this album: are we supposed to witness the things we are about to see? I’m not sure, but Victorian Specter stands resolute in his convictions: he forces us to go with him, lest we fail to grasp a greater understanding of our reality. Let’s be fair; who among us Dungeon Synth fans wants to miss out on such an occasion?

The Elegance of Vestigia starts off brilliantly with the track Vestigia Nulla Retrorsum. We hear soft ambient music, a wind instrument reminding me of a clarion, a simple keyboard melody, and sound effects reminiscent of radio airwaves before a ghostly choir and slow electronic drumbeats take over the soundscape, dulling our physical senses while heightening the awareness of our third eye at the same time. A variety of choirs will appear on many occasions throughout the album, and it’s the main reason why I think it’s so successful at what it tries to convey. This build-up during the first part of the track is repeated, but manages to create more impact when soaring brass instruments are added to the score, leaving me with a vision of an occult procession in full motion, complete with ceremonial clothing and relics. It is a great opener, and a portent of things to come in later tracks. This does not mean we have already reached the high water mark of this mystifying trip. No, I would even say Vault of the Adepti surpasses the superb opener. It starts off unassumingly enough with hypnotizing flutes, a minimalistic synth melody, and distant choirs, but things really take off when the reverb of the electronica kicks in. It’s as if we’re slowly descending the stairs of a temple, the smell of frankincense in its dusty halls becoming stronger and the chanting of cultists becoming louder with each step we take. This stops suddenly as we reach a closed door. We open it gently and find we have stumbled right into the middle of an esoteric ritual, but those in attendance pay us no heed. We pass them by as they remain unaware or uncaring of our presence. The track has a wonderful Middle Eastern sound to it, which reminds me of a snake charmer’s swaying melody, hypnotizing us effortlessly with its intoxicating tune. I’m not exaggerating when I say this is (in my opinion) Victorian’s Specter best composition to date, and I hope he will include it in his future live appearances. He may have already done so in the months leading up to this release, but I’m not sure.

High Priestess Anari is a little less remarkable than its impressive predecessors, but it signals an important shift in the tone of the music. The lovely keyboard melody turns this track in the most light-hearted composition of this album, although it should be mentioned that there is a sense of peaceful blissfulness present, making this track unique on this album. Lifting the Veil of Isis is also lighter in its composition at the beginning, but it is a very different track altogether. It starts off with a keyboard melody which wouldn’t look out of place on a Fief album, but it quickly shifts into a great blend of Dungeon Synth, trance-inducing electronica and tribal music (bongos). The prayer in reverence to Isis is another highlight of the album, and feels authentic. I even believe it may be a snippet of a recording of an actual occultist. Great stuff.

Coiling of the Underworld Serpent is true to its name. The drumbeat and the synth play mimics the pace of a planet-sized snake coiling just underneath the mantle of our world. Not to crush (not yet), but to hold the world tightly in its scaly grasp. The slow drumbeat keeps us focused, but it’s the choir which elevates this track and sends us into a trance. Its climax is a little too apparent to maintain a trance-like state for the duration of the track, but we are, for better or for worse, definitely pushed to sense the spiritual world more keenly.

The album ends with a terrific funerary march. Osiris Slain begins ominously as brass horns and shrill flutes take us to a somber procession of pallbearers carrying the body of Osiris. The sluggish, yet heavy as lead drumbeat and baritone choir create a slow pace. The distraught followers of Osiris follow in the pallbearers’ footsteps as a baritone choir remains fairly at the tail of the procession. Slowly but surely, strings and uncanny keyboard melodies are added to the mix to create a sense of unease. I’d like to think Osiris’ followers are clawing at themselves as they force themselves onward. Their dismay reaches a climax just before they enter the tomb. When they do, we hear brass instruments signaling the placement of Osiris’ remains in his sarcophagus so that his mortal shell can rest. The album closes with spectral, noise-like ambience which I believe symbolizes the formation of a silent vigil by all those in attendance. It is a fitting end to a memorable trip.

The word elegance in the title of the album isn’t farfetched; Victorian Specter handles the subject matter with a sense of elegance. What’s more, Victorian Specter makes me believe there are still wonders to be discovered in our rational world. That is commendable, if nothing else. I hope this release garners him more recognition in a scene which is woefully underrepresented in our country.

Fenix Silvermoon approves, and declares: