‘Tomb of the Water Dragon’ by Stoneflower
‘Tomb of the Water Dragon’ by Stoneflower
Stoneflower is an emerging dungeon synth artist whose work is set apart by immense intentionality, synth knowledge, and narrative craft. For example, not only is Stoneflower’s Invasion of the Thunderbirds focused on using the specific TB-303 bassline synthesizer from the 1980s. It also featured a complex revenge narrative centered on clans in a dangerous, unforgiving mountainous landscape. The album features a level of detail many other dungeon synth artists don’t go near.
The Dallas-based artist’s most recent additions, Tomb of the Water Dragon and The Shadow Frenzy, are companion pieces that focus on the aftermath of a 250-year Dragon Campaign, which saw shadowed frenzy dragons war against crystal dragons and their silver star warriors. Tomb of the Water Dragon follows an island warrior and adventurer as he stumbles upon the Tomb of the Water Dragon and is reunited with the power of the stars. He questions if this power and alliance will be enough to stop the resurgence of the Shadow Serpent.
The other thing that sets Stoneflower apart with Tomb of the Water Dragon is that the artist is not afraid to incorporate a wide range of elements and influences. “Shattered Stars” uses many hallmarks of the dungeon synth genre while using neo-classical piano influence to craft an atmosphere of mystery and awe. Then, the album pivots with “Sunken Forest Island,” which includes a more spacey, sci-fi-influenced synth plucking over a groovy lo-fi beat. Stoneflower crafts this “water level” video game vibe during this track and the following song, “Crystal Cove.” The former captures a sense of exploration and excitement, while “Crystal Cove” creates the sensation of finding a hub or some grounding in a strange new place.
“Distant Dreams,” “Tomb of the Water Dragon,” and “Silver Star Sword” use the sounds of water trickling in a cave, running streams, flanger effects, and chiptune synth, and they also tap into sonic territory I’m surprised I haven’t encountered on many dungeon synth albums before. The rise of “liminal spaces” in internet culture has yielded a particular soundtrack associated with the strange, contorted nostalgia aesthetic, most notably in artists like Instupendo and my head is empty. Like many other artists associated with the liminal space movement, Stoneflower crafts an atmosphere both haunting and relaxing. At times, Tomb of the Water Dragon so strongly evokes the sense of a fully established fantasy world through nostalgic synth that the listener will experience the same liminal experience shared across those layering music like this over the soft glow of an N64 in a darkened, abandoned house.
The middle of the album achieves this most strongly to me, as the last three songs return to more dynamic song structures that feature boisterous dramatic moments woven into contemplative moments of piano trills, guitar plucking, glittering bells, and subtle crashing waves. All of these capture a strong narrative structure of exploring new depths, finding an ancient mystery, and pondering what newfound knowledge might do to the established world.
Stoneflower achieves something many artists attempt to do across multiple albums in just one. Tomb of the Water Dragon is a testament to when immense passion and care go into a project. It stands out from other releases this year and is a serious contender for the best dungeon synth album of 2024. This does not even contextualize it with its companion album, which only improves the experience. Stoneflower is one artist you need to know about, listen to, and watch out for their next exciting move.
