Wongraven
Fjelltronen

THE REVIEW

For those who, like me, arrived at dungeon synth starting from rock, well, this subject is rather complex. "Dungeon synth": what an ugly term, my goodness. Maybe it's just my own suggestion, but I detest this label because it reminds me of a musical conception that's only slightly above background music for fantasy-themed video game reels made for not-so-bright nerds.

Let's call it dark ambient, come on, or, fine, let's say the cursed word: let's call it black metal.

In fact, this obscure gem springs from one of the most brilliant minds the black metal scene has ever produced: Satyr of Satyricon, who, in parallel with his main band, put together (along with some far-from-insignificant guests...) this almost entirely instrumental project. Dungeon synth music wasn’t born alongside black metal, but rather "in" or "from" black metal itself. It’s been described as “the sound of black metal album intros, but for a whole album,” and I think this definition is spot on.

What you need to understand when you put on “Fjelltronen” is that it’s not an album you just listen to, hoping to be swept away by it. There aren’t any hypnotic, buzzing black metal riffs; it’s truly an atmospheric record in the strictest sense. But here’s the thing: that’s exactly the point. Listen to this album while doing something else, or simply while you’re resting—it’ll know how to treat you. In the midst of listening, a detail, a distant percussion beat, or a perfect melody will catch your attention. This, specifically, is an important aspect: “Fjelltronen” isn’t so uncompromising as to reject melody altogether; it knows where to place excellent keys that make listening less of a chore.

Then again, of course, listening is still taxing—but you’ve put on an album whose cover features a black-and-white forest with a cabin and a title in Norwegian; what did you expect?

As for the sound, the keyboards naturally take the lead, handled so they know when to stay in the background and when to take center stage. Few vocals, a sound that’s anything but muscular, slow tempos that might at first seem boring if you focus too much on hunting for a catchy melody at all costs. One of the classy touches, in my opinion, are the war drums that occasionally toll, felt as a menacing presence in the background. The production, in this sense, is good; it doesn’t leave out any details. This is an album that’s beautiful to listen to, and, alongside the early work of Mortiis (to which, perhaps, I consider this dark little gem superior), it stands as one of the pinnacles of dark ambient, dungeon synth, atmospheric black, or whatever you want to call it.

Ultimately, I think the best approach is to turn to this album considering it a black metal offshoot, an experiment emerging from the same shacks that produced "In the Nightside Eclipse," "Filosofem" (another album that had a huge impact on the ambient scene), and – indeed – "Dark Medieval Times" and so on. You won’t be swept away instantly; especially even though it’s the closest cousin, if you’re a die-hard fan of Tsjuder and Nargaroth you’ll find something quite different here. But if your effort as a listener is strong enough, you’ll grasp the beauty of this album.
And go, now that summer’s coming, at least a bit of icy music from the north can help. Score: 86/100.