#wiegedood — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #wiegedood, aggregated by home.social.
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Wyrdstæf – Primordial Bloodlines Review By Spicie ForrestBefore the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?
Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.
Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.
These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.
Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.
Rating: 2.0/5.0
#20 #2026 #ApocalypticWitchcraftRecordings #BlackMetal #BritishMetal #Folk #Kampfar #NyttLand #PrimordialBloodlines #Review #Reviews #Sep26 #Wiegedood #Wyrdstæf
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026 -
https://www.europesays.com/nl/178293/ Ultha – A Light So Dim #2026 #ALightSoDim #ambient #AmbientBlackMetal #Amusement #AshBorer #atmospheric #BlackMetal #BlutAusNord #CultOfLuna #Dutch #Entertainment #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #recensie #SunWorship #swans #ultha #VendettaRecords #weakling #wiegedood #WolvesInTheThroneRoom #YellowEyes #ZwareMetalen
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https://www.europesays.com/be-nl/38889/ Ultha – A Light So Dim #2026 #ALightSoDim #ambient #AmbientBlackMetal #Amusement #AshBorer #atmospheric #BE #België #Belgium #BlackMetal #BlutAusNord #CultOfLuna #Entertainment #Music #Muziek #recensie #SunWorship #swans #ultha #VendettaRecords #weakling #wiegedood #WolvesInTheThroneRoom #YellowEyes #ZwareMetalen
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https://www.europesays.com/nl/62112/ Samhain zondag: Hypnose en hakken #Amusement #BlackMetal #DeathMetal #dødheimsgard #Dutch #Entertainment #fen #hemelbestormer #Maastricht #metal #moonspell #Music #Muziek #muziekgieterij #Nederland #Nederlanden #Nederlands #Netherlands #NL #pthumulhu #samhain #shagor #SludgeMetal #sunken #sylvaine #wiegedood #winterfylleth
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GardensTale Goes to Roadburn 2024
By GardensTale
Roadburn is a unique festival. Many have no idea what it is, but those who know it often revere it. Starting in 1999 as a traveling stoner festival, it has grown into one of the most adventurous, envelope-pushing celebrations of music worldwide. The line-ups have grown increasingly experimental, and a few years ago the festival adopted the slogan Redefining Heaviness. It’s a mission statement that indicates the wide scope of the festival, exploring other forms of heaviness through the inclusion of genres beyond metal.
My partner and I have visited every Roadburn since 2017, when I last wrote a report on the experience. At the time, we had a sweet arrangement allowing free entry by playing host to a performing artist. Unfortunately, this option no longer exists since the pandemic, so instead we have been inviting random festival goers, which has netted us a steadily growing slew of festival buddies from across Europe. This year was no different, with a few old friends and a few new ones taking up residence in our living room. With the fires of friendship thus stoked, we set off on our sixth voyage into the depths of the heavy underground.
Day 1 (Thursday, 18th of April)
2:34 PM — Got to Hexvessel’s set playing Polar Veil a little late, because one of our guests needed a bracelet still. Good doom, played well, but doesn’t blow me away. Room is crammed, but it’s the first show of the festival.
2:44 PM — Watched a few songs, then went to grab merch. Hoodies were already sold out in several colors.
3:11 PM — Sunrise Patriot Motion is like “what if Ashenspire swallowed a synthwave band” and I like it. It’s a strange contrast but it works.
4:03 PM — Wiegedood were doing a live soundtrack to a Japanese experimental silent film from 1926 and it was as odd as that sounds.
5:44 PM — Grabbed some food during a gap in the schedule and afterward watched a few songs of Sean Mulrooney’s set (from Tau and the Drones of Praise). Dark folk with sparse vocals doesn’t really work unless the vocals are good, and these weren’t.
5:47 PM — Now sitting outside the venue where UBOA is doing her thing and it sounds like two supercomputers on train tracks colliding head-on. Bit above my maximum noise-to-music ratio.
7:16 PM — Inter Arma is pretty dang massive. Sound in the venue isn’t great so the guitars aren’t getting their due but faces are caving in.
8:26 PM — WHITE WARD IS FUCKING AMAZING
8:35 PM — Their saxophone player is in the army so they had to make do with samples, but after 4 canceled appearances due to Covid and the war, it was worth the wait.
9:46 PM — Everyone and the family dog wants to see Chelsea Wolfe, so being 20 minutes early still meant nosebleed spots in the balcony. Wolfe fills the room anyway. I don’t always click with her albums that much, but man she is a force to behold on stage.
10:54 PM — Shows hadn’t left much time for food today, so a big fat doner wrap will have to do. A fellow with too little blood in his alcohol walked into the door and cracked his head on the tiles. Walked away 10 minutes later. Hope he survived.
11:37 PM — Goddamn, Backxwash is heavier with her hip-hop than most bands are playing metal. No one on stage but a black woman in a poofy dress laying down the law over raw industrial beats. Fucking awesome set.
Day 2 (Friday, 19th of April)
3:14 PM — Started off crammed into the room like sardines to hear Fluisteraars do an experimental set: the droniest of drone with birdsong on top. Handled about 10 minutes of that before bailing. Not my jam and way overcrowded.
3:39 PM — Mat McNerney (aka Kvohst of Hexvessel and others) doing a commissioned piece called Music For Gloaming: A Nocturne. Very gothic doom/black mixture, pretty cool set with loads of atmosphere.
6:33 PM — After a meal we went to check out Lucy Kruger + The Lost Boys in the Hall of Fame venue. Very nice weighty dream pop, not unlike Emma Ruth Rundle.
8:31 PM — Good thing we were there because Inter Arma was drafted for a second performance, a secret set of material from their classic albums. Also in the Hall of Fame, the smallest venue of the festival. Absolutely brainscramblingly colossal. Easily the heaviest thing on the festival so far.
9:52 PM — Another secret set, this one by Couch Slut in the skate park. Harsh music under the harsh glare of the tubes. Great performance and the venue brought out their punky DIY spirit, looking forward to seeing them again early tomorrow for their new album playthrough.
Day 3 (Saturday, 20th of April)
1:24 PM — Knoll for breakfast is kind of terrifying and overwhelming but also kind of awesome in a “my skull is now 2D” kind of way.
1:26 PM — Suddenly a wild trumpet appears!
2:25 PM — Couch Slut playing their new album. Raw as all fucking get out. Great show! Excellent live band both performances, visceral as fuck. The frontwoman confessed to only sleeping 90 minutes that night, and occasionally it showed, but by and large, she killed it.
2:50 PM — Oneiroporeia is a super young band and it shows, but their blackened prog-goth sound is solid and promising.
5:04 PM — Roadburn has a queue problem this year, especially today, and primarily at the Spoorzone venues. It’s always unclear when a venue opens and the queues have gotten gigantic. After wasting some time in a queue in an attempt to see Agriculture, we decided to settle in at the Main stage and wait for The Keening.
5:52 PM — The Keening is as beautiful and fragile as the titular Little Bird, but could use a few more dynamic stanzas to balance out the mid-weight atmodoomfolk a little. Still quite pretty though.
8:37 PM — Between rain and queues we settled on Ni in the Paradox jazz club. Super skronky instrumental jazzmathcore is healing my soul right now.
10:44 PM — Ni turned out one of the best things I’ve seen at the festival this year. Cult Leader’s acidic sludgy hardcore made a run for the podium, but their gothic-doom passages just aren’t as captivating. When these guys go full blast though, they’re absolutely vicious.
11:32 PM — In the spirit of trying new things, we ended the day with a few Frail Body tracks. Safe to say that screamo is not my new passion.
Day 4 (Sunday, 21st of April)
3:05 PM — We dragged our exhausted husks to the Terminal for the final day. Kicking off with Laster is a good start. The weird psych black band with ghoulish masks are pretty much studio-tight. It does feel a little clinical or impersonal as a live show but it’s a very solid performance.
4:47 PM — Today really is black metal day at the Terminal. No complaints from me! Verwoed tears down the place with their ritualistic and reasonably melodic take. Good sound and a spirited performance. The Dutch black metal scene proves to be thriving once more.
6:27 PM — After all the doom and gloom, a little black thrash that’s all riffs and no brakes is just the ticket, and Devil Master hits the spot. Doing the second half of the set sitting on the floor by the wall because my feet are withered stumps at this point.
6:31 PM — I’m also surprised by the amount of delighted surprised faces I get from bartenders when I show them my order on my phone screen. Is it really that uncommon? It’s so much simpler than shouting!
8:32 PM — Biological necessities (aka food) and a queue meant missing the first half of Fluisteraars’ full black metal set. This is a shame because fuck me this is one of the best performances of the whole festival. It’s apparently only the second time the band performs live and they put most of their peers to shame.
10:18 PM — Dödsrit led a 50-minute war band to raid and pillage the Terminal. Baller set, tons of energy and extremely fun! Sound was a bit off, as is tradition in this venue, but it didn’t spoil a good time. Thought this would be the last show for us, but in the interest of a last drink with a few friends we went to…
11:29 PM — …the main stage for Cloakroom. Not a terribly engaging band even by shoegaze standards, but a nice lullaby to sing the festival to sleep.
Between collaborations, commissioned pieces, secret sets, and integral album presentations, not to mention a lot of bands that would not fit in at many other festivals, Roadburn’s line-up is always unique. I’d never have found bands like Ni or Lucy Kruger without the concerted efforts of Walter Hoeijmakers and Becky Laverty to keep Roadburn one of the most forward-thinking festivals out there. I found some new favorites and checked out some bands I knew only by reputation. But best of all is experiencing it all with an ever-expanding gaggle of friends. We’ve rarely watched a show with just the two of us; nearly every time we had the company of friends, and come rain or queues, that is the best way to experience this festival.
#Agriculture #Ashenspire #Backxwash #ChelseaWolfe #Cloakroom #CouchSlut #CultLeader #DevilMaster #Dödsrit #EmmaRuthRundle #Fluisteraars #FrailBody #Hexvessel #InterArma #Knoll #Laster #LucyKrugerTheLostBoys #ni #Oneiroporeia #SunrisePatriotMotion #TauAndTheDronesOfPraise #TheKeening #UBOA #Verwoed #WhiteWard #Wiegedood
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We are still reeling from #Botch awesome performance last night at the #Patronaat. #Crouch ( from the same twisted minds behind #Wiegedood ) opened the evening. They are well worth checking out too.
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Bonus: Biggest disappointment
#Wiegedood – There’s Always Blood At The End Of The RoadExpectations were high after 3 (for me) 9/10 albums. The musicians are of the crème de la crème out of Belgium. And yet they managed to create an earraping version of Korsakovs „Flight of the Bumblebee“ with FN Scar 16. It actually became a meme track among some musician friends of mine. Given the success they probably continue their overloaded-music route.
#BlackMetal -
Ik denk dat ik #wiegedood gewoon graag hoor #SpotifyWrapped
