This week’s Sunday Dungeon leads us to the UK for some lo-fi dungeon synth with
Fiendish Imp. Their latest release is a digital-only 3-track, Name Your Own Price ep called All Hallows Eve. We’d like to thank Fiendish Imp for their time in answering a few of our questions.
What’s the inspiration for the name Fiendish Imp for your project?
-The name ‘Fiendish imp’ is inspired by old folklore about witches in the 17th century; witches were said to call upon minor demons from hell to spread mischief and terror on their behalf. From the image of these little devils ‘Fiendish imp’ was born!
Your bandcamp lists your style as “lo-fi dungeon synth.” I’m curious as to what you use for equipment to create your music.
-I mainly use hardware to make the music, primarily keyboards and effects pedals. The secret ingredient is the old Yamaha PSS FM synthesizers; with the right touch they produce simply devilish sounds.
The new EP, All Hallows Eve has just been released. Were there any specific stories that moved you to write this and are the tracks stories in and of themselves or part of a bigger one?
– The songs on this EP we’re of course inspired by the story of Hallows eve, the night when demons may walk the earth. More broadly the songs are inspired by folklore surrounding witchcraft and sorcery in the English Middle Ages. Overall, each song adds to the story of the Fiendish imp and his demonic games.
What are some of the landmark dungeon synth albums that have inspired you?
-Of course, the mighty Old Tower serves as a great inspiration, particularly ‘The door’. It is so simple and enchanting! ‘. Eternal Fear’s album and Lamentation’s discography are also great inspirations to me.
Some people credit Mortiis’s “Song of a Long Forgotten Ghost” as giving birth to the dungeon synth style. What are your thoughts on that? Otherwise, where do you think it began?
-I would agree Mortiis helped to define and carve the sound that is dungeon synth. However, as the genre grows the influence more broadly of heavily synthesized soundtracks of the 1980’s such as Goblin’s ‘Suspiria’ as well as the works of John Carpenter is a continual reminder that no one album can truly define the beginning of a genre.
Do you subject yourself to any particular rituals, conditions or atmospheres when you write or record?
-Inspiration comes in fits and bouts but almost always results in me huddled in a darkened room, surrounded by wires and keyboards for hours at a time, letting the Fiendish thoughts turn into melodies.
Are you involved in any other non-dungeon synth projects?
-Currently, I am not. However, work is slowly coming about on a one man room project themed around the hysteria of the ‘Satanic Panic ‘, so keep your ears open…
If you were commissioned to score any old horror or sci-fi movie, what do you think you’d choose?
-If any one movie could define the concept of Fiendish Imp it would be the 1926 adaption of ‘Faust’, which I would love to score! Emil Jennings as Mephisto is everything a fiendish devil ought to be.
How’d you get hooked up with Dunkelheit Productions?
-Having heard my music they approached me online, believing it to be channeling the early dungeon synth sounds of the 90’s demos. I am both honored and proud to be working alongside them.
What’s next for Fiendish Imp in 2018 and 2019?
-A devil never rests and this imp is no exception. Expect more fiendish melodies inspired by all things creepy and demonic to find there way to your ears soon…
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