Wire Worms: Beneath The Eildon Tree
DL | Cassette |Streaming
Released July 31st 2026
Wire Worms unveil an album of doom-folk, madness and millenarianism. Andy Brown finds a seat Beneath The Eildon Tree for Louder Than War.
In a world rife with AI slop, there’s something refreshing about a band that dive into decidedly esoteric areas. Beneath The Eildon Tree – the name of the new album from Leeds-based collective Wire Worms – refers to a mystical tree and the 13th-century Scottish laird, Thomas the Rhymer. A Nostradamus type figure, who – one tall tale goes – was abducted by The Queen of Elfland and returned with prophesies and verse. Ideas around prophesy, millenarianism and madness are filtered through the group’s atmospheric doom-folk. As always, the band revel in digging deep into the past to unearth the strangest of jewels.
While distinctly experimental, Wire Worms carry with them the most crucial element of all folk music in their appreciation for – and ability to tell – a compelling story. True Thomas – a song based on a traditional ballad about our dear Mr. Rhymer – serves as our opening chapter. Groaning drones soon give way to pensive acoustics and the solemn yet impassioned vocals of Luke Carroll. Raw, thunderous folk delivered with suitably apocalyptic zeal. “Judgement day is near at hand!” comes the warning as distortion rumbles like a gathering storm. Hell, yes!
All Bells In Paradise drifts in like a dream: “Arise, arise, to see the king; the bells, the bells, I heard them ring.” Vocalist Jasmin Brown holds us hypnotised as the song ascends. It’s an astonishing piece of music. We then pass through yet another threshold where we’re greeted by The Faithful Bird. Foreboding clouds gather above as an enticing English Concertina calls us into the trees. Before long a clearing opens up and we’re greeted by a large, bearded bard singing of dying worlds and symbolic birds. It feels like we’re in the midst of some ominous yet utterly engrossing play.
The appropriately titled Infinite Delight is an authentic and evocative piece of a capella. Imagine carol singers have appeared at your door but rather than Good King Wenceslas, they’re singing: “Oh grave, where is thy triumph now, And where, Oh death, thy sting.” It’s like Love Actually if Richard Curtis was trying to covertly remake Blood On Satan’s Claw. The vocal performances throughout the album are nothing short of astounding: just listen to those harmonies on Cockaigne. Add to this a slow, woozy rhythm and a little jazzy clarinet and the spell is complete.
Even in the middle of a heatwave, Snow Is On The Ground can’t help but invoke a ghostly shiver. Picture yourself finding shelter in the confines of a dilapidated church, only to find a gang of waifs and strays singing some haunted hymnal. This is an album that fully and completely takes you to another place. Kirree Fo Niaghtey is equally beguiling. Brown wailing about dead sheep over ill-omened drones may very well be the most intense thing you hear all year. Said drones bleed into the band’s final offering, Mad Tom. Madness, “mince-pyes” and unadulterated dread. And is that the devil whispering in my ear?
Despite its innately arcane nature, this is an album that really speaks to the moment. The pining for change and the death of the old world to make way for the new. Achieving this level of connection and relevancy while indulging in centuries old literary and folkloric references is – it has to be said – no mean feat. Wire Worms occupy a rather unique space and their continued exploration into these odd and obscure enclaves is something to be embraced. Beneath The Eildon Tree is a thematically rich and emotionally potent album from a band that proudly exists outside of time and trends.
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You can find Wire Worms on Instagram and Bandcamp.
All words by Andy Brown. You can visit his author profile and read more of his reviews for Louder Than War HERE.
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