Words by Paige Cobos
Dungeon Synth is a subgenre unlike anything heard in metal. Coming into prominence in the 90’s, the music style showcased a fusion of electronic, black metal and dark ambient. With the continuing rise of gaming in both video games and table-top RPGs, dungeon synth has been the soundtrack of many created worlds, with many gifted artists from all over the world leaving their own musical impression on the genre.
Warlock Corpse, also known as Труп Колдуна [Nikita] is a dungeon synth artist from Kazakhstan. He is an artist taking the old school approach to creating dungeon synth. We talked about inspiration, working with vintage synthesizers and collaborating with other artists.
Off Shelf: What inspirations do you draw from, musical or other forms of media? What do you find inspiring about them for the style of Warlock Corpse?
Warlock Corpse: Inspiration can come from many things, not just works of art like music, films, or paintings. For example, a dark, rainy evening when you don’t feel like going outside, or a walk through the forest or mountains. As for music, I’m drawn to old-school dungeon synth releases—I like their raw, noisy quality and the sounds of vintage synthesizers.
OS: You are based in Kazakhstan, what was your first encounter with dungeon synth or similar music?
WC: I’ve been making music for a long time, and in the past, I played in other genres, mostly post-punk and no wave with dark elements. I used to make pre-show playlists to play before concerts when people were gathering in the venue. I was searching for non-rhythmic music, like dark ambient and dungeon synth. While putting together those playlists, I grew to love dungeon synth and decided to record something in that style. That’s how my first release, Returning to the Dungeons, was born.
OS: Your Bandcamp bio states that you use “vintage synthesizers”. What is it like working with older equipment and what are the challenges?
WC: I love vintage synthesizers because they give that raw, authentic sound I aim for in Warlock Corpse tracks. The only challenge is dealing with all the cables needed to connect them and the space they take up, but for me, that’s not really a problem.
OS: Have you performed live?
WC: Yes, I perform live. There are two formats: one where I play alone with synthesizers and a microphone—this is where I perform the more dungeon synth-oriented tracks, without guitars. The other format is a full band, where we play black metal songs.
OS: What sets Warlock Corpse apart from your other projects like Lord Horoz and Culturist? Is there a common theme running through them?
WC: All of these projects share a common core—dungeon synth. Warlock Corpse has a more or less classic dungeon synth sound with elements of black metal and some electronic influences. Lord Horoz is a two-man project playing Keller synth/black metal; in this band, I don’t write lyrics or do vocals—my friend Leo does. Culturist, on the other hand, is dance music, a mix of gabber hardcore and dungeon synth.
OS: Who does the art for your releases? What was it like working with them?
WC: I mostly create the cover art myself. I usually search for old engravings or posters online, then combine and process them in Photoshop. But in my opinion, the best cover art was made by Reclusive Goblin—that’s the cover for the album Return of the Black Comet.
OS: You have released your music on cassette, CD, and vinyl. How important is the physical medium aspect of music to you?
WC: In this genre, physical releases are the primary format. Some artists even choose not to release their music digitally at all. Personally, I don’t mind digital releases because they’re convenient for listening.
OS: Recently you did a split with Feu de Saint-Antoine. What was the collaboration experience like? What do you enjoy about their music?
WC: The split with Feu de Saint-Antoine was suggested by the label Personal Uschi Records. It was an interesting experience because I specifically recorded tracks for this split, keeping in mind the sound and style of the other artist. I used synthesizers that I hadn’t used in my tracks before. What I like about Feu de Saint-Antoine’s music is its unusual melodies and complex compositions and structures.
OS: Lastly, what are some of your current favorite music artists?
WC: There are so many amazing artists in the modern dungeon synth scene that it’s hard to list them all. I really like what’s being released on the labels I also work with: Out of Season, Grime Stone Records, Personal Uschi Records, Phantom Lure, WereGnome Records, and Black Casket Records.