What does Fields of Mildew sound like?

Where post-rock meets dark folk.

The review of ‘IV’ by Fields of Mildew

Fields of Mildew is a curious project from an artist based in Germany who creates a conceptual version of folk music. The project asks what folk music could sound like in the late 19th and early 20th century, if the guitars were plugged. Inspired by the bogs and moorland of Teufelsmoor, near Bremen in Germany, this is music for those who love a heavy mood.

‘IV’ is the latest EP, which pairs Fields of Mildew’s electric guitar noodles with wooden percussion and his deep and soothing vocals. The instrumental opener ‘Ignis fatuus’ introduces us to a sound that takes dark folk music and “plugs” it to take on a post-rock tone. The electric guitar is happy to wax and wane. The music chugs like it’s taut and wants to let rip. It refuses to snap, and over the next two tracks, that tension weaves in some beautiful folk rock. ‘Vanishing’ takes on a bountiful gallop with the hand percussion and strident chorus. Fields of Mildew’s music is never upbeat, but this track has a tempo and poise to be almost bard-like. Combatting the jaunty beat, dissonant chords and uncertain chord progressions to sow the seeds of eerie madness within. ‘Tempest (Absence of youth)’ has a lot in common with artists like Seeming, as the dark folk roots take on a dark wave energy. Whilst the vocals and main riff are melodic, the track is also lethargic, like a weary horse. The outro is a sorrowful 90-second guitar solo that hangs like a heavy cloud.

‘The lowering splendour’ leans into a dreamy reverb on the guitar and soft, layered vocals to create a whirlpool. Fans of Unto Ashes will be right at home. The mixture of hand percussion and numbing electric guitars hits deep when the husky vocals of Fields of Mildew glide effortlessly on the musical wind. It’s the most immediately melodic track on the EP and a great starting place. ‘Spiral of eternal life’ has a doom folk gravitas to it. Like previous tracks, the minimalist approach to instrumentation lets the guitar chug crank up the tension. Perfectly placed guitar motifs for the chorus and some reverb-heavy vocals for the bridge make this track feel like a last stand at the ranch. The closing track, ‘Lluvia’, is a dusty post-rock wilderness outro of wind samples, rain of leaves, conversational snippets, and a lonely guitar raging a private war for one. Think Akira Yamaoka’s Silent Hill guitar work, slowed down, and you’ll be in the right mental state to appreciate it.

Referencing Akira Yamaoka’s Silent Hill work is intentional, as there is an undercurrent of horror folk that runs throughout Fields of Mildew’s work. This is definitely folk, but it’s a retro-plugged version of it and one that post-rock fans would truly appreciate, too. There’s nothing else quite like this duality out there, especially one that allows the music to seep in uninterrupted instrumental bars of melancholic rock. Fields of Mildew sounds every bit of 1896 as it does 2026. A unique twist on folk and rock ideas.

Recommended track: Spiral of eternal life

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