Keller Synth

Dungeon synth emerged in the early–mid 1990s from the black metal underground as keyboard‑based, medievalist interludes and standalone projects. Pioneers established the template of minor‑key ostinatos, rudimentary drum programming (if any), and a penchant for mythic or chthonic themes.

Even in its first wave, much of this music was recorded at home on budget gear, circulating via tapes and small labels. The “cellar” or “keller” connotation—music crafted in basements and rehearsal rooms—was already part of the broader underground ethos.

A large Bandcamp‑centered revival in the 2010s broadened dungeon synth’s audience and aesthetics. Artists experimented with warmer “comfy” palettes and, conversely, with darker, rougher textures inspired by early tape releases and black ambient.

In the 2020s, the term keller synth gained currency on DIY circles and labels to denote the most raw, dust‑covered end of dungeon synth—music that actively foregrounds cassette saturation, room resonance, and a claustrophobic, torch‑lit mood. While international in practice, the German moniker reflects the strong central‑European presence of projects and micro‑labels cultivating this aesthetic.

Keller synth remains intentionally small‑scale: short runs on tape, xeroxed artwork, medieval woodcut or occult visuals, and track titles referencing folklore, ruins, witchcraft, and nocturnal rites. It thrives precisely by keeping the recording process as tangible—and imperfect—as possible.