Occulture Narrative in the Electronic Music Genre of Dungeon Synth

In this study, I analyze albums in the dungeon synth genre in order to examine the ways in which culture is consumed and especially to note the influence of esoteric discourse in them between 1990 and 2024. The first part of the paper takes place to outline the term occulture as coined by researcher Christopher Partridge and the occult narrative and that the roots of the emergence of Dungeon Synth go back to the composition of the tradition of black metal music and electronic music, and explores the extent to which remnants of this intersection can be seen. Chapter two then discusses, black metal theory and Dungeon Synth's connections to role-playing games and fantasy literature. The dungeon synth (DS) genre is a product of the digitalization era, as it was born and popularized in the Internet era (1990s). Today dungeon synth music is undergoing a reincarnation, but before that the genre had been stagnant and forgotten for more than 10 years. Almost any information on the subject of dungeon synth can be found online, with the exception of printed magazines and books (although these are still very difficult to obtain due to low circulation and geographical location). The study aims to provide answers to how authors use religious narratives to tell the stories of their conceptually complex (or not so complex) universes, to play with religious meanings and to captivate, “enchant” the listener, to allow them to decode esoteric references. Narrative analysis and analysis of visual images of DS genre performers are carried out