I don’t say this often, but today I’m speaking with someone I admire – both as a musician and as a person. While I frequently speak to bands, it’s rare that I respect someone before even meeting them. To be clear, this is our first conversation, but let me tell you why I admire them anyway.
Not only is this artist a driving force behind the dungeon synth revival but they also actively guide others, offering advice on how to carve out a unique voice in an increasingly crowded scene.
Recently, while searching for new VSTs, I realised just how much this individual has contributed; not only as a musician and pioneer but also as an educator who inspires others to create. Today, I’m speaking with Erang, one of the most important individuals behind dungeon synths recent resurgence.
Few artists in the dungeon synth realm have crafted a universe as immersive and deeply personal as Erang. Since emerging in the early 2010s, Erang has built a vast sonic mythology in The Kingdom of Erang, a place of nostalgia, lost memories, and fantasy woven into melancholic soundscapes. Blending medieval atmospheres, cinematic grandeur, and lo-fi charm, Erang’s music transcends genre, offering both an escape and a deeply introspective journey. But beyond the melodies and mythos lies an artist whose work continues to evolve, drawing from a well of creativity that refuses to run dry.
Most recently, Erang has released the fantastic The Kingdom Is Ours, which, unlike earlier work, is a mostly collaborative album featuring collaborations with some of the genre’s other biggest titans (such as Mortiis and Fief.)
To me Erang is not a regular musician, as he is one who is a collaborator, a contributor in many forms, and ultimately someone who truly has been at the centre of the dungeon synth revival and still finds the time to help new artists develop so they can contribute to the genre too.
Erang is still helping build the community now – even 13 years later!
Name me another sub-genre of metal which this much collaboration, it just doesn’t exist, and if I’m being blunt, partially why metal audiences often end up siloed into a small selection of bands.
Ok, ok, in fairness, black metal is a bit better as they have been releasing split records between artists for decades, but that’s where it stops. They never go beyond that, so I think it’s fair to say collaboration is often an afterthought within the genre, and usually something not even worthy of consideration… unless you’re Erang!
You can find Erang everywhere handing out a free education like a saint who walks around sinners; you can find him posting on his own website, Reddit, his YouTube channel, and basically any dungeon synth forum you’ve probably visited. Erang is essentially the dungeon synth Jesus we don’t deserve, that thankfully hasn’t needed to die for our sins. If you like the genre at all, Erang’s contribution (both on record and behind the scenes) cannot be understated!
Erang, thanks for your time today!
Photo Credit: PETER BESTE
Erang Interivew (March 2025, by D)
I always like to start by asking, in your own words, what or who is Erang? How did this project start, and what motivated you to create dungeon synth at a time when the genre was mostly dormant?
I’ve always been a very creative child. Always drawing, then writing or creating games—making my own card games or tabletop, etc. Then I started doing music around the age of 13, I guess. Some years later, I was 30 and stuck in an endless mental loop of chasing new, strange, innovative, and
experimental art. But so much of that kind of art, while intellectually interesting, started to feel emotionally empty to me. So I switched and just came back to stuff that simply brings joy to me. Just like when I was a kid.
At that time, I came across the Dungeon Synth blog, around 2011. It felt like a revelation. I was already doing that kind of lo-fi, fragile melody on my own, so to discover that a few people could enjoy it outside of myself was a revelation.
Back then, almost no one really cared for Dungeon Synth—but it didn’t matter to me: for the first time in my life, I found something that directly spoke to me. So I pulled my tracks together, added new ones, and put out my first album as ERANG on Bandcamp. I used what I had—cheap gear, basic
tools—and I even remember drawing the cover of Tome I lying on the floor of my room.
Eventually, I sent a single-line email to Andrew from the blog: “A nostalgic journey,” with a link to the album. That’s how it all began.
I know Erang is mostly influenced and inspired by your own memories, and nostalgia for those moments in your life. However, who would you say some of your biggest musical influences have been? How have they evolved over time?
I never know how to answer this question. I have billions of influences that all bring something to the table—even if “sound-wise” they could seem a million miles away from Erang… and honestly, I’m as much influenced by movies as I am by music.
If we speak only about electronic/synth music or those related to Dungeon Synth, I’d say Aphex Twin, Brian Eno, Lord Lovidicus, Mortiis, Summoning… but there are also dozens of movie soundtracks that influenced me at the same level. I can’t reply to this question.
I’ve always been curious, have you ever been part of any other projects? (Metal music, or otherwise?)
No. It’s all Erang. And always will be.
Let’s talk about your music. What does the composition process look like for you? For someone as prolific as yourself, how do you keep coming up with new ideas to keep advancing your art?
First, it’s not really a question of being prolific but rather of being obliged . I don’t care about anything else than creativity, so I don’t have a choice. Don’t get me wrong—I’m interested in politics, in the way the world goes, in the suffering of other human beings. But what I mean is, I rarely go out to have a
drink with friends. I just like to spend all my free time working on my art, or checking out other people’s art, music, movies, etc.
That’s all I’m interested in, and the only thing that brings a little spark of sense within this absurd existence. And because of that, I constantly have new ideas about everything: a melody, a story, a drawing, etc. As for the process, there is only one: you sit at your desk and start working. Every day,
every time you have a little time. Like a craftsman.
At least in my opinion, it seems like there is a larger philosophy you employ behind your music – which I feel sets you apart from most of your contemporaries. In your own words, what would you say is the main philosophy that guides your art? What are the principles in life you adhere to? (In music or otherwise)
It’s simple: Imagination Never Fails. It has been my motto for years, and I even named one of my albums after it. Just let the power of imagination submerge you. That’s the core.
But then, if you carefully read some of my track names, I guess the philosophy or message behind most of them should be clear—and it depends on each track: “Within the Land of My Imagination I Am the Only God,” or “King of Nothing, Slave to No One,” etc.
There are also titles about personal things, where everyone can see something for themselves: “My Own Darkest Hours,” “They Laughed at My Smile,” or “Without Friends I Still Exist.”
In my everyday life, I believe in nothing. Life, the universe, nature, and mere existence make no sense—except for the meaning each individual creates in their own mind. Nothing wrong with that, but for myself, I don’t see why I should believe in one thing or another. I just try to act with humanity, and to be kind with the people around me and in society. To respect them, and not to spread negativity in a world already full of violence and hate.
You seem to give back to the community (that you helped create!) far more than any other artist in the genre. What encourages you to share so much of your knowledge with the world? Honestly, I’ve seen what VST you use, what presets you recommend, even the settings you recommend for those presets haha. I wonder, is there anything you are not willing to share with your audience about your music or the creation process?
I don’t know, I just find it cool to help others create their own musical world. Knowing people use my samples is a nice feeling. I often receive links from people with their music using my samples, and I’m always glad to check it out and give feedback—especially for newcomers or amateurs who need encouragement.
Concerning my own process, it’s not that I don’t want to share it, but I think that talking too much about the process or what goes on behind the scenes just kills the magic.
Carrying on from that, let’s educate a bit. I feel I have seen you talk about every VST on the planet, but production techniques maybe less so? So, for the aspiring dungeon synth artists reading this, where would you recommend for an education in DS production? Was there anything that helped you learn (other than your ears) when you were first starting out? Any creators online you find particularly insightful or helpful?
Well, I guess they could already check out some of the videos I’ve done on that and other things: Erang’s thoughts, tutorial and resources (free VST, free samples) for Dungeon Synth and the Kingdom of Erang.
Honestly, when I first started, I just listened to a lot of music. But you know, the most common barriers we face aren’t technical—they’re almost always psychological. So if I had one piece of advice, it would be to shape your mindset. Just work on your craft every day like a carpenter builds a chair. Don’t overthink it. Don’t give up. Just follow your gut and make something sincere.
Production-wise, for a beginner, I’d say one of the most important things I learned is: take each of your sounds/tracks, and cut the unneeded bass with an EQ. Make room for each instrument by turning down some of the less important frequencies on each one—by using your ears.
Secondly, sometimes turn your full mix into mono. It should still sound okay. If a sound disappears or goes completely distant, that means you should work on your panning or stereo on that specific sound. But again—don’t stress too much about these tips. Follow your heart.
As I mentioned in the intro, collaboration seems to be a big part of what makes Erang. That can be either in forms of collaborating with all the people on the dungeon synth forums, through to your most recent release in The Kingdom Is Ours. I genuinely appreciate that as most people often look to immediately capitalise on their knowledge or position within a community, but you have taken a radically different approach by inviting and encouraging as many outsiders in as possible. What is it about collaboration and community that inspires you so much, and what do you see as its main advantages?
The seed for The Kingdom Is Ours was planted at the end of 2023, when I started working on a new album. Back then, I didn’t yet know it was going to be a collaborative album, but I already knew I wanted to name it The Kingdom Is Ours, because it’s been a catchphrase of mine to illustrate what I’ve been doing for years.
I was actually in touch with photographer Peter Beste, and we went together to the Northeast Dungeon Siege in March 2024. For the first time in 12 years, I was out of my cave, so to speak. And you can’t imagine what it meant to me to receive so much warm feedback and cheering all around. I was so humbled to hear what my music means to some people.
Honestly, that experience marked a turning point for me. I met countless figures from the scene whom I had only interacted with on Facebook for years. It gave real meaning to the artistic concept behind The Kingdom Is Ours. Hedge Wizard and Fief told me what some of my first albums meant to them, and I had no fucking idea. I was so glad and humbled.
At the end of the trip, Peter mentioned he’d be heading to the Dark Dungeon Festival in Belgium two weeks later. So I went back to France, booked my tickets, and joined him there. It was another incredible and unforgettable moment, meeting other scene legends like Depressive Silence and Mortiis—whom I had briefly interacted with before. We shared some Belgian beers and did a photo shoot in ancient ruins with Mortiis, Sombre Arcane, and Jordan from Ancient Meadows.
Step by step, I asked all the musicians who are now part of the album if they wanted to work with me, and everyone was really up for it. It was always a different way of working—very friendly, artistically interesting, and cool.
I feel like you’ve collaborated with most of the dungeon synth heavyweights already, but I’m curious, is there anyone left you would like to collaborate with? And what do you see as the next evolution in your art?
Right now, after this massive collaborative album, I need the opposite: to go back to my fortress of solitude, ahah. It was a pleasure to make the collaborative album, but I don’t like to repeat myself.
As for the next evolution in my art: I’ve been working since the summer of 2022 (and we’re in April 2025 now) on a collection of short stories in the vein of The Twilight Zone, Creepshow, The Outer Limits—that kind of thing. It takes up all my energy, but I should self-publish it in a few months, hopefully.
I know you’re a fan of the VST Synth1, you’ve even released some excellent DS presets for Synth1. Though, I want to know what other digital equipment makes up your arsenal for sounds? What physical equipment do you recommend, and what is the one piece of physical equipment you could not go without now that you have it?
I don’t like rules and guidelines. Tools are just tools—I’m not attached to them. Just use whatever you have under your hands. Dungeon Synth is similar to Punk or early Black Metal in that way.
We’re a zine that is mostly focused on the esoteric, the occult, and the obscure. So something I like to ask is, what is something, in general, that fascinates you in life? What is one of life’s mysteries that you cannot solve no matter how long you think about it?
One of life’s mysteries I can’t solve? Well, all of them. Who could pretend they’ve solved any of life’s mysteries, haha? We’re just intelligent monkeys on a floating rock in an infinite void. What am I supposed to do with that? I don’t know. I just live, make art, spend time with my close loved ones. That’s already enough.
What does 2025 look like for you? What does Erang have in the plans?
Again: to finish and publish this damn book. In addition to that, I’ve also started to work on my 2025 album since the last months of 2024. It will be a new TOME in the series. After all that, who knows—I might start thinking about putting together a live performance…
Out of all your music, what is the one song which has the most meaning to you personally, and why?
All of them.
Lastly, is there a question no one has ever asked you, but you wish someone had asked as you would like to answer? If there is one, now is your chance, what is the answer to your question?
Well, I’d rather take this space to ask you a question: how do you feel? Are you satisfied with where your life is going?
I’m good, man. Thanks for asking!
Appreciate your time today Erang, and I sincerely appreciate your approach to sharing knowledge as I find it refreshing to see someone at the top who is so invested in giving back and creating a new wave of revival artists. I am also convinced it is this openness and sharing of knowledge that has created a real renaissance of dungeon synth music today. If someone wants to learn how to make DS, all they’ve got to do is search your name and they’ll be on their way. I genuinely think metal music, and all of its sub-genres, need more crossovers and collaboration, and your example is one we should all aspire to. Before I let you go, is there anything else you would like to add before we finish?
Thanks for your questions. And a massive thank you to all the people who appreciate my art and music. Thanks for your support—it means the world to me. After 13 years of doing this, I sometimes feel exhausted or down. But knowing there’s someone, somewhere, who enjoys my craft always brings me back on track to keep it up, just for them.
All the best, Erang!
And there we have it! Make sure to check out some of Erang’s work if you’ve not before. In fact, even if you don’t love Dungeon Synth and you’re just reading because it’s on our website, I think you should go give his latest album a spin just for the character this man has consistently shown since Erang’s formation. If you don’t believe me, Google it. Erang has helped create a whole second (third?) wave of DS artists for which he is now rightfully receiving the praise and recognition he deserves for his contributions to the genre.
Links:
Mithraic Magazine 
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