Review Summary: True escapist haven.
Three years after the previous LP (
Dragon Citadel Elegies), Vechi Vrăjitor (Juuso Peltola), the genius behind the project, returns with a new album. Since 2017, the project has been a true flagship of the dungeon synth genre, with its wonderfully rich, colorful, and adventurous soundscapes. In my opinion, with each new release, Old Sorcery takes a step further away from the classic old-school dungeon synth style, evolving toward a more theatrical, lush, and enchanting sound. The latest chapter in this musical evolution is
The Escapist.
In interpreting this album, I think it’s important to reflect on the meaning behind its title. Escapism refers to the act of fleeing from (often harsh, monotonous, or cruel) reality, something people most commonly find in some form of art - including music. But in this case, I believe there’s even more to it. The dungeon synth genre itself is intertwined with escapism: love for fantasy literature and video games, a passion for medieval aesthetics, or nostalgia for the ’80s and ’90s (and the list could go on) are all traits of the genre’s musicians and fans. So, I think the title carries a warm message:
“This is for you.”
The Escapist features nine tracks, each offering a glimpse into a different style. Interestingly, despite their diversity, there’s a strong cohesion among them, as the album’s structure is built with remarkable elegance. One could analyze the elements of each track at great length, but for now, I’d like to highlight the album’s most outstanding moments.
The opening track briefly recalls the atmosphere of the 2017 album
Realms of Magickal Sorrow, thanks to its stretched, tape-like lead melody (similar to the track “Voynich”), but the post-rock-inspired guitar textures in the background evoke more of a sci-fi vibe. I’d especially like to highlight the album’s second track, “The Badger-folk Moot”, which sounds like a score from a forgotten, ’80s-era fantasy movie - one steeped in the sweetest melancholy and idyllic charm. The final part of the song is a breathtaking neoclassical piece that even Howard Shore would be proud of: pure, honey-sweet, magical idyll. (
Goosebumps!)
A particularly entertaining moment on the album is “Gem Hoarder Goblin” - this is true “goblin synth”! Quirky and playful, yet still imbued with a sense of mystique. This track is a great example of how the album sometimes employs cinematic solutions: the staccato strings vividly depict movement that you can almost see the goblins sneaking away with their stolen gems!
Other delightful highlights include “At The Wayfarer’s Lantern” (medieval neo-folk dungeon synth), “Voynich” and “Starlit Belfry Tower” (slow winter synth), and the first two-thirds of “Immortal Passion” (Klaus Schulze-inspired ambient music). I’d like to give special mention to the latter track, as the album’s closing section offers something truly magical: Summoning’s style makes an appearance. The typical programmed drums, tremolo riffs, and synthesizer harmonies are all there - only the vocals are missing! It’s such a shame this style only appears so briefly, because I could listen to a whole album of Old Sorcery’s tribute to Summoning!
The Escapist is a masterfully crafted work, a true delicacy for listeners interested in dungeon synth. One of the highlights of the year.
