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United States - Wisconsin

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by Wyrding

Unlike their more conservative funeral doom brethren, Wyrding seeks out the dramatic not only in minimal execution, but minimal sound. They are quiet, unassuming, but are able to portray immensity with their subtle movements.
Genre: Metal/Punk: Doom/Stoner Metal
Release Date: 

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  Song Share Time Download
1. Poltergeist
5:11 $1.99
2. Longing's End
5:10 $1.99
3. False Concept of Voyage
4:38 $1.99
4. Impression I
1:09 $1.99
5. Steaming Blood Ascends Beyond the Moon
6:32 $1.99
6. Ahold a Wren
5:32 $1.99
7. Impression II
1:40 $1.99
Downloads are available as MP3-320 files.


Album Notes
There is something amiss in Wisconsin. Or perhaps the opposite forces are at work. More likely, it's a unique push and pull between the dark and light from which Wyrding pulls their inspiration. Founded by Troy Schafer and Bret Hartl, Wyrding began with a sound that took inspiration from the unique folk/neofolk leanings of Troy's long-standing project Kinit Her (With Nathaniel Ritter) and melded into a unique take on funeral doom metal. These initial experiments resulted in the two-track Agony in being EP. (Originally released in very limited quantities on Schafer's Shifting Sands Congregation imprint, and now available on cassette on Small Doses, and as bonus tracks on the CD of this debut album.)

As time passed, Wyrding evolved into a full, five-piece band, and their sound shifted with it. The music became more expansive and epic, and the vocals moved from the whispered growl on Agony in Being to a more crooned, almost operatic style. The results are still very much rooted in funeral doom, and the music is incredibly heavy without being heavy in the traditional metal sense - it relies on emotional mass and space more so than the typical huge distorted riffs.

The seven songs that make up Wyrding's debut album create the feel of a strange narrative - the plot isn't always easy to discern, but by the end, you know the band brought you along on a trip riddled with sadness, darkness, and perhaps even a bit of catharsis.

"Wyrding’s hushed music flows over you like a warm blanket, Schafer’s warm baritone voice soaring above fellow bandmates Brian Steele, Kyle Roessler, Bret Hartl and Jerry McDougal’s smooth lugubre. Gone are the overt folk influences of Wyrding’s demo, who have emerged from the cocoon with a sound akin to Benedictine monks performing funeral rites with modern electric instrumentation. Unlike their more conservative funeral doom brethren, Wyrding seeks out the dramatic not only in minimal execution, but minimal sound. They are quiet, unassuming, but are able to portray immensity with their subtle movements." - Jon Rosenthal, Invisible Oranges

"Wyrding is essen­tial listening, not least because it serves as a for­ward and upward-looking coun­ter­point to the neo-traditional efforts of bands like Pall­bearer and Bell Witch." - Evening of Light

"Instantly from the first moments of "Poltergeist," the mood is set for the entirety of the record. Leading off with exasperated breathing and far off, pained human voices, the band quickly launches in to a slow funeral march. Schafer's deep, guttural voice channels the darkest of vibes, as the rest of the band proceeds with a creeping, shuffling elegance. The pace is slow, but the dynamic alternates between heaviness and open space. With the addition of organ and the rest of the band contributing chanting vocals, there is more than a hint of liturgical drama to be had.

The pace and vocal style continues clearly into "Longing's End," but the band chooses to focus on a clean, old school hard rock/metal guitar tone throughout that contrasts the sacred music elements a bit more. That style continues into "False Concept of Voyage," which retains the big metal guitar sound, but a lighter atmosphere and more vocal harmonizing. The final result ends up being more melodic and folk-like though, before coming to an abrupt end.

On the second half of the album, Wyrding split between two short instrumental interludes and two more fully fleshed out songs. Opening with "Impression I," lengthy guitar soloing and tasteful accompaniment make for a lighter sense of melody that builds to a crushing crescendo. This segues brilliantly into the piano driven "Steaming Blood Ascends Beyond the Moon," an overall calmer work despite its grim title. Percussion is sparse, the guitar melodies are strong, and the vocals are lighter.

The following "Ahold A Wren" sees the band darkening things up a bit more, with heavier guitar and sharp, shimmering drums taking the focus. Schafer's vocals are a bit less doomy, but still have a tortured quality to them, amplified by the layered chanting accompaniment. The closing "Impression II" ends the record on a synth heavy, deep vocal note. The CD version includes the two songs from the Agony in Being single, which thematically fit with the rest of the release, though have an overall more experimental, cut-up quality to them compared to the more traditional song-like arrangements of the self titled single.

Wyrding's debut full-length album may not be for everyone, with its strict adherence to a dirge-like pacing and Troy Schafer's deep, sepulchral vocal inflection. However, its rich, yet deliberately sparse instrumentation conveys a depressing beauty that makes it a truly memorable record that draws from a multitude of styles without latching onto any one too specifically. It is an icy beauty that may take some time to fully reveal itself, but it is extremely satisfying when it does." - Creaig Dunton, Brainwashed

"part funeral doom, part gothic opera and part ambient soundscape, but there’s a definite coherence found within its towering walls and climbing sorrow. There’s a gorgeous melancholy running throughout which harks back to founder and vocalist Troy Schafer’s neo-folk beginnings and the simplicity of that genre soaks in to the core of Wyrding and allows them to showcase beautiful compositions and stunning song writing.

“Steaming Blood Ascends Beyond The Moon” is one such track and the piano-led intro gives it a surreal lounge-act feel before breaking into echoing guitars that carry the weight of the world on their stunning progressions. Schafer’s voice is deep and passionate and here the band shine through the darkness with a song that moves in affecting waves. The lamentations found inside are deeply sorrowful and the band create an ethereal aura that transcends sadness and moves it on to another plane entirely. Wyrding is a unique record and one that may take some time to truly fall for, but once you’re there it will be difficult to forget the odes within." -Bleak Metal

"Più di vent'anni fa, venni ammaliato dalla musica di una band finlandese, autrice di due splendidi album e due EP; dopo il 1997 se ne persero ahimè definitivamente le tracce. Sto parlando dei Decoryah, un quartetto dedito ad un doom etereo, la cui impronta sonora ho ritrovato quando, per la prima volta, ho ascoltato l'album omonimo dei Wyrding. Non è il solito funeral doom quello che scorre nelle tracce di questo disco omonimo, c'è quasi qualcosa di ultraterreno che permea le song del quintetto del Wisconsin. Si percepisce nelle soavi melodie della opening track, "Poltergeist", cosi intrise di straziante malinconia, che lascia però intravedere un filo di speranza. La musica dei nostri è lenta, vibrante e solenne grazie ad un certo approccio corale che mette quasi in soggezione, come se stessimo entrando in chiesa e ci costringessimo al silenzio per non offendere chi è in preghiera. Tuttavia, lo psicotico video disponibile sul sito bandcamp dell'ensemble statunitense, non rende giustizia alle mie parole, dal momento che rischia di inquadrare erroneamente il quintetto come una black metal band. Per fortuna, ci pensa la poesia di "Longin's End" a palesare le qualità assolute dei Wyrding attraverso dilatati suoni doom e ispirate atmosfere decadenti. C'è gran poco nella musica dei Wyrding di quella matrice funeral che siamo soliti recensire su queste stesse pagine. I brani dei cinque di Antigo seguono la spiccata umoralità della band, senza seguire le regole definite impartite dal genere. La sensazione è, ascoltando la seguente "False Concept of Voyage" e in generale tutte le tracce ivi contenute, che i nostri si muovano senza schemi predefiniti, lasciandosi puramente guidare dall'istinto, da una emotività tangibile che qui fluisce tra anfratti oscuri in cui si insinuano le splendide e lamentose vocals di Troy, le suggestive linee di chitarra di Kyle e le introspettive keys di Bret (che si diletta anche nell'uso dell'organo), in un ritualistico lavoro senza tempo che trova la massima espressione in qualche assolo di chitarra (penso a "Ahold A Wren") che mi lascia senza fiato. Drammatici, eleganti e deprimenti, è difficile trovare aspetti ottimistici in un lavoro dai simili connotati; forse solo l'inedito artwork bianco, potrebbe smuovere pensieri positivi in un tale contesto liturgico, come il devastante strazio interiore che captiamo durante l'ascolto di "Impression II". Quello dei Wyrding è un album bellissimo, che implica un ascolto impegnato e impegnativo: in "Agony In Being I" ad esempio, collidono con il funeral semiacustico della band, altri due generi cosi diversi tra loro, il noise e il neofolk, in una traccia sicuramente più sperimentale, ma che innalza ulteriormente il livello di difficoltà nell'approcciare questo disco, lasciandoci in balia della conclusiva "Agony In Being II". Si tratta del pezzo più lungo del lp, e quello certamente più oscuro (non fosse altro per l'utilizzo del growling) sebbene interamente acustico, le cui ambientazioni dark doom raggiungono qui massimi livelli di delirante follia, in grado di condurci nell'abisso più profondo della coscienza umana. Incredibili, davvero!" (Francesco Scarci)



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