古老的传说 - 英国Neo-Folk乐队Wire Worms专访

今天采访到的是来自英国的Neo-Folk乐队Wire Worms，组建于2023年的Wire Worms乐队由分别来自Tristwch Y Fenywod、Shit Theatre和Hexham Heads等乐队的六名成员组建并且在2023年发行了一张Demo作品，这张作品吸取了工业，氛围音乐，贝斯独奏等元素演奏一种独特的民谣音乐，同时乐队通过音乐演绎了另一种英国“民俗”文化的特质，从而突显了上述文学性内涵。这种通过打破传统作曲手法而营造出的“怪诞”感，旨在进一步强化并挖掘传统、诡异与恐怖元素之间的内在联系。随后乐队在2024年发行第一张正式专辑，这张专辑发行之后获得了很多歌迷的关注，也迅速成为英国Neo-Folk风格当中独树一帜的乐队，2026年乐队再次出征发行了他们的第二张正式专辑，有英国的Cruel Nature Records，在新专辑发行之际杂志与乐队成员取得联系进行了一次专访！

（V: 代表笔者 C: 代表LC H: 代表HW J: 代表JB L: 代表LL ）

Today, we are interviewing Wire Worms, a neo-folk band from the UK. Formed in 2023 by six members hailing from groups such as Tristwch Y Fenywod, Shit Theatre, and Hexham Heads, the band released a demo that same year. This work drew upon elements of industrial music, ambient soundscapes, and bass solos to craft a unique style of folk music; simultaneously, the band used their sound to interpret a different facet of British "folklore" culture, thereby highlighting the aforementioned literary depth. The sense of the "grotesque"—created by breaking away from traditional compositional techniques—aims to further explore and reinforce the intrinsic connections between the traditional, the uncanny, and the horrific. The band subsequently released their debut album in 2024, garnering significant attention from fans and rapidly establishing themselves as a distinctive force within the UK neo-folk scene. In 2026, they returned with their second full-length album, released via the UK label Cruel Nature Records. To mark the occasion, we reached out to the band members for an exclusive interview.

(V: The Interviewer | C: LC | H: HW | J: JB | L: LL)

采访对象：Wire Worms乐队全体成员

采访时间：2026.09.20

V: 你好——很高兴见到你，也非常感谢你接受这次采访。我想这应该是你们乐队第一次接受中国杂志的采访，所以我们先向所有的中国乐迷打个招呼吧。Wire Worms 是哪一年成立的？乐队是如何组建的？“Wire Worms”这个名字有什么特别的含义吗？

Hello there—it’s a pleasure to meet you, and thank you so much for taking part in this interview. I believe this is the first time your band has been interviewed by a Chinese magazine, so let’s start by saying hello to all your Chinese fans. In which year was Wire Worms formed, and how did the band come together? Is there any specific meaning behind the name "Wire Worms"?

C: 你好！没错，这确实是我们第一次接受中国杂志的采访！非常感谢你们抽出时间。Wire Worms 的组建过程比较缓慢，经历了多次探讨，成员阵容也随时间推移逐渐成形。我和 Henry、Jasmin 几年前就开始构思一种演绎民谣音乐的新方式，但直到我们和现在的吉他手一起去钓鱼度假时，这个想法才真正有了雏形。我们是在第一场演出时结识 Layla（我们的鼓手）的。我们成了好朋友，后来她在去年年底正式加入了乐队，Becca（我们的贝斯手）也是在那个时候加入的。我们录制了第一首小样"The Golden Bough"，随后意识到还没给这个项目起名字，于是决定用“Wire Worms”（一种会破坏农作物的寄生虫——金针虫）来命名。我们觉得这个名字很贴切。

C: Hello!L Yes, it very much is our first time being interviewed by a Chinese magazine! Thank you so much for taking the time. Wire Worms formed quite slowly over a series of discussions and the line-up has slowly evolved over time. Myself , Henry and Jasmin, had been plotting a new way of approaching folk music for a couple of years but it wasn’t until we went on a fishing holiday with our now guitarist that it started to take shape properly. We met Layla (our drummer) through the first gig we ever played. We all became close friends and she ended up officially joining at the end of last year, at the same time as Becca (our bassist) joined us too. We recorded our first demo “The Golden Bough” and then realised we had no name for the project, so we decided to name ourselves after the parasitic “Wire Worms” that spoils agricultural harvests. It felt appropriate.

V: 你们乐队共有六名成员，在组建这支乐队之前，大家都已是经验丰富的音乐人，曾在 Tristwch Y Fenywod、Shit Theatre 和 Hexham Heads 等其他乐队演出过。这种经历想必让你们的创作过程更加顺畅，因为你们彼此熟悉各自想要创作的音乐风格。能否请你们谈谈创作过程？你们刚发行了新专辑，创作过程顺利吗？能否分享一下制作过程中的一些心得？

With a total of six members, you are all seasoned musicians who played in other bands—such as Tristwch Y Fenywod, Shit Theatre, and Hexham Heads—prior to forming this group. This experience likely makes the songwriting process smoother, as you are already familiar with the kind of music each of you aims to create. Could you walk us through your creative process? You’ve just released a new album; did the creation process go smoothly? Would you be willing to share some insights into your experience of making it?

C: 我想说，每首歌背后的创作过程都不尽相同，由不同的人主导不同的曲目，并运用各自独特的方式进行创作。例如，有些歌源于即兴创作（如《Mad Tom》或《The Faithful Bird》），而另一些歌的旋律则经过了无数次的反复打磨与修改。我认为，这种互补风格的融合极具价值。我们最近发行的专辑《Beneath the Eildon Tree》无疑是我们迄今为止最愉快的创作经历。它的灵感源自阅读彼得·沃斯利（Peter Worsley）的人类学著作《号角将鸣》（The Trumpet Shall Sound）；在图书馆进行研究并深入了解传统音乐与诗歌中的“千禧年主义”（Millenarianism）观念后，专辑的结构与节奏便由此自然成形。Wire Worms 项目始终致力于对传统音乐进行研究导向的探索，我相信《Beneath the Eildon Tree》比我们之前的作品更成功地实现了这一目标。不过，我相信未来仍有提升的空间。

I would say that each song has a different process behind it, with different people taking ownership of different songs and applying their own approach. For instance, some of the songs have been born out of quite an improv-inspired approach (such as the track “Mad Tom” or “The Faithful Bird”) while others had melodies that had been written and rewritten a thousand times. I think there is a great value to this mixture of complimentary styles. Our recent album “Beneath the Eildon Tree” was easily the most pleasant creative experience we’ve had so far. It was inspired through reading “The Trumpet Shall Sound” an anthropology text by Peter Worsley and the album's structure and rhythm unfolded from that after spending time researching in the library which informed our approach to Millenarianism within traditional music and poetry. The Wire Worms project has always sought to be a research-led investigation into traditional music and I believe “Beneath the Eildon Tree” has achieved this more successfully than our previous releases. However, I’m confident there will still be room to improve.

H: 我认为创作过程中的两大关键因素是即兴创作——正如 Luke 刚才提到的——以及地理距离。即兴创作对我们来说非常自然，因为我们身处利兹（Leeds）的实验音乐圈，周围充斥着噪音音乐和半即兴音乐——Hexham Heads 项目也是其中的一部分。至于地理距离，乐队成员分别居住在利兹、利物浦和伦敦这三座城市。这意味着我们必须充分利用彼此共处的每一刻，同时也需要学会如何跨越距离进行协作——比如，某人可能会把一段正在构思的乐句、音效，甚至是歌曲的雏形发给乐队其他成员，然后由另一个人在此基础上继续创作。当然，也有时候我们会聚在一起，任由创作灵感自然迸发！

I think two of the biggest factors in the creative process are improvisation - as Luke mentioned above - and distance. The improvisations part comes quite naturally to us, as part of the Leeds experimental scene, there’s a lot of noise and semi-improvised music around us; of which the Hexham Heads project is part of. In terms of distance, the band lives across three cities; Leeds, Liverpool, and London. This means we have to make good use of any time we have together, but also being able to work with that distance, someone might send a riff or a sound they’ve been working on - or even the skeleton of a song - over to the rest of the band and then someone else starts working with that. Other times, we might all meet and the creative energy just starts flowing!

V: 你们已经发行了三张专辑，每一张的录音质量都非常出色——每一个细节都清晰可辨。请问这些专辑是在哪个录音室录制的？由谁担任制作人？新专辑的录制过程进展顺利吗？

You have released three albums, and the recording quality of each one is outstanding—every detail comes through with great clarity. At which studio did you record them, and who produced them? Is the recording process for the new album going smoothly?

C: 谢谢，您过奖了。我们每张专辑的录制方式都截然不同。我们的试听Demo"The Golden Bough"——这张作品探索了那些我们认为与人类学家James Frazer著作有着内在联系的季节性民歌——完全是在Henry和Jasmin家中的一个小隔间里，仅用一支麦克风录制完成的。为了尽量减少周围城市的噪音，我们在演奏时不得不把毯子蒙在头上。而且当时正值盛夏，那真是一段相当艰难的经历！我们的下一部作品"The First to Come In"是在Leeds的Pirate Studios 录制的，耗时几天。这一次，我们至少不用再蒙着毯子录音了，但对于六个人来说，那个房间依然显得相当狭小。这两张专辑都是我们自己制作的，主要工作由Henry负责。相比之下，我们最近发行的"Beneath the Eildon Tree"是在Bradford的Holm Studios录制的。这让我们第一次能够真正以乐队现场演奏的形式进行录音，而不是每个人单独录制。我认为这带来了显著的改变，因为它让我们作为表演者之间的音乐互动得以充分展现并被捕捉下来。同样，这也促成了由该录音室的工程师Ross Halden来担任制作人，他的专业知识对我们而言极其宝贵。

Thank you, that’s very kind. Each of our albums has had a very different approach to recording. Our demo release “The Golden Bough” - which explored seasonal songs that we felt intertwined with the writings of the anthropologist James Frazer - was recorded entirely on one microphone in a small alcove in Henry and Jasmin’s house. It involved us all putting blankets on our head while performing to minimise the sounds of the city around us. It was the middle of summer too, so it was quite a difficult experience! Our next release “The First to Come In” was recorded over a few days at Pirate Studios in Leeds. This time we at least didn’t have to record with a blanket over our heads but it was still quite a small room for six people. These albums were both self-produced and the work was mainly done by Henry. In contrast, our recent release “Beneath the Eildon Tree” was recorded at Holm Studios inBradford. This allowed us to effectively record ourselves playing live as a band for the first time, rather than each person recording individually. I think it has really made a significant difference, as it allows the musical interplays between us as performers to be properly expressed and captured. Likewise, this allowed the album to be produced by the engineer Ross Halden who worked at the studio, whose knowledge was invaluable.

H: 在制作方面，我通常以Nivalis为艺名制作Industrial/Club music。这种经验对"The Golden Bough"产生了很大影响，特别是在"John Barleycorn"和"The Cutty Wren"这两首歌中；我们当时确实很感兴趣，想看看将民谣与现代俱乐部音乐的音色结合起来会产生怎样的效果。在制作"The First to Come In"时，我试图更多地尝试传统的摇滚与金属乐制作方式——这与"The Golden Bough"时期更接近beat making的流程截然不同，而且要同时兼顾演奏与录音，有时确实颇具挑战。很高兴这次能由 Holm Studios 的 Ross 掌舵，他的协助让整个制作过程变得非常轻松惬意。

In terms of production, I usually produce Industrial/Club music under the name Nivalis, this experience shaped “The Golden Bough” quite a lot, especially on John Barleycorn and The Cutty Wren; there was definitely an interest here in seeing what folk would sound like set against modern club music sounds. For “The First to Come In” I was trying to get to grips a bit more with more traditional rock and metal production, which got quite hard at times trying to both play and record at the same time, rather than what was closer to a beat making process on “The Golden Bough”. It was really nice having Ross from Holm Studios take the reins this time, he made the process very relaxing.

V: 你们选择了一个绝佳的主题——讲述源自英国和爱尔兰等地的中世纪故事。是什么促使你们选择了这一音乐主题？又希望通过它传达什么？你们的歌词写得太棒了，我非常喜欢。这些歌词出自谁手？灵感又从何而来？

You’ve chosen a wonderful theme—telling stories from the Middle Ages, drawing from places like Britain and Ireland. What led you to choose this musical theme, and what do you aim to express through it? Your lyrics are fantastic—I really enjoy them. Who writes them, and where does the inspiration come from?

C: 这源于我长久以来对历史和人类学的热爱，正是这种热爱最终引领我走向了传统音乐、诗歌和民间故事。我不仅钟爱这些元素本身，更因为它们让我感到自己与某种更宏大的传统血脉相连——我吟唱着前人曾吟唱过的词句，而这些词句也将在我们离去后继续流传。这带给我一种宁静感，我也觉得能参与传承这一火炬至关重要。话虽如此，我认为重要的是不要仅仅机械地复刻这些历史素材，而是要以一种契合当下的方式来演绎它们。唯有如此，这些古老的歌谣与诗篇既属于过去，也鲜活地存在于当下。传统歌曲往往有成百上千种版本，因此我在创作歌词时的主要方式，就是将不同版本中的词句与元素进行融合，并加入我自己的创作。这样一来，几乎无法确切知晓每一首歌词背后究竟有多少位创作者，而我认为，这正是传统音乐之美不可或缺的一部分。在融入我自己的歌词时，我会努力捕捉原有素材所营造的氛围，但也会微微调整整体的情感基调，使其指向特定的意图——例如，着重突显某种末世论的主题，或是为了增强专辑的连贯性，将这首歌与另一首歌建立更紧密的联系。

The origin stems from my lifelong love of history and anthropology, which eventually led me to traditional music, poetry, and folk stories. I adore these elements for their own right, but also as it allows me to feel connected within a broader tradition; of expressing the same words as those who have gone before us, and likewise words that will continue to be spoken long after we have gone. This gives me a sense of peace and I feel it's important to play a role in passing this torch along. With that said, I think it's important to not simply recreate these historical objects but rather to express them in a manner fitting for our moment. In this way, these ancient songs and poems are both of the past and very much of the present. Traditional songs often have thousands of versions and so my main creative process with the

lyrics is combining different phrases and elements from these different versions, and then adding in my own too. In this way, it's almost impossible to know how many authors stand behind each set of our lyrics and I think this is an integral element of what makes traditional music so beautiful. When inserting these lyrics of my own, I try to capture the feeling of what has already been brought together but perhaps ever so slightly shifting the emotional register of the lyrics as a whole towards a particular end, for instance by drawing out particular eschatological themes or even connecting one song more closely to another in the album for a sense of coherence.

V: 这张专辑是由Cruel Nature Records厂牌发行的；你们是如何与他们建立联系并展开合作的？对他们的工作表现满意吗？他们为这张新专辑做了哪些推广工作？你们之前的专辑也是与该厂牌合作的吗？

This album of yours was released on the Cruel Nature Records label; how did you connect and collaborate with them? Are you satisfied with their work? What kind of promotion have they done for your new album? Did you work with this label on your previous album as well?

C: 这是我们第一次与 Cruel Nature Records 合作，体验非常棒。当初在一位朋友的鼓励下，我们寄出了"Beneath the Eildon Tree"的demo，从那时起，他们就给予了我们极大的支持。他们确实在努力让更多人听到这张专辑，对此我们深表感激。

This is our first time working with Cruel Nature Records and it has been a wonderful experience. They have been extremely supportive of our work from the moment we sent across our demo version of “Beneath the Eildon Tree” after being encouraged to do so by a friend. They have really helped to try to bring the album to more peoples ears and it is much

appreciated.

V: 你们的标志设计非常独特——是谁为你们设计的？专辑的视觉设计也别具一格，又是谁创作的？这其中有什么故事吗？

Your logo has a very unique design—who designed it for you? Your album artwork is also very distinctive; who created it? Is there a story behind the artwork?

H: 标志的主体图案是我设计的，灵感源自“Rood Garland”（一种英国民间习俗，即用麦穗或其他植物枝叶装饰十字架，或装饰教堂内原本安放十字架的位置）；我提取了这种花环的轮廓，并将其旋转了八次。这个构思产生于创作"The Golden Bough"和"The First to Come In"这两首歌的间隙，因此无疑受到了当时我们对麦穗及农业传统的思考的影响。我很喜欢最终呈现的效果，在我眼中，它就像一轮由“虫群”构成的太阳，从树根处升起，而树根的形态恰好拼出了乐队的名字。

I made the main icon for the logo by taking the outline of a rood garland and rotating it eight times. A rood garland is a British folk custom of decorating a cross - or the where a cross would go in a church - with wheat or other foliage. I came up with this in between the writing of “The Golden Bough” and “The First to Come In” so it was definitely influenced by us thinking about wheat and agricultural traditions during that time. I like how the final thing came out, as I think of it as a sun of worms raised up from the roots of a tree that spell out the band’s name.

C: 这张专辑的视觉设计由几位创作者共同完成。最初是一幅画作，由居住在曼彻斯特的视觉艺术家Tanith Mab创作。随后，这幅画作经过了Layla的丈夫Phil Legard的处理与变形；Phil既是一位才华横溢的设计师，也是一位以“Dark Valley”为艺名的dungeon synth制作人。同样，专辑视觉设计中使用的字体也是由Layla专门设计的。

The artwork for the album has a few different creators. It was originally a painting that was created by Tanith Mab, a visual artist who lives in Manchester. This painting was then manipulated and distorted by Layla’s husband Phil Legard, who is a talented designer and dungeon synth producer under the name “Dark Valley”. Likewise, the typography that features on the album artwork was a bespoke design created by Layla

V: 首先，恭喜你们乐队今年发行了最新专辑。聆听你们的作品，我不仅能感受到folk metal的影响，还能察觉到black metal和doom metal的影子。这张专辑的氛围营造极为出色——缓慢而阴郁，让人联想到一位游牧诗人漫步在无尽沙漠中的画面。你们融入了许多非金属乐器，有效地增强了这种氛围感，而缓慢的节奏也让人感到格外放松。编曲中的细节处理令人赞叹，你能感受到每一个riff背后倾注的心血。你们自己对这张新专辑有何看法？它与你们之前的作品有何不同？

First of all, congratulations on the release of your band's latest album this year. Listening to your work, I can sense influences not only from folk metal but also from black metal and doom metal. The album excels in its atmosphere—slow and dark, evoking the image of a nomadic poet wandering through an endless desert. You’ve incorporated many non-metal instruments, which effectively enhance that atmospheric quality, and the slow tempos are truly relaxing. The attention to detail in the arrangements is remarkable; you can feel the care put into every single riff. What are your own thoughts on this new album? How does it differ from your previous release?

C: 诗人穿行于无尽沙漠的意象非常动人，我们的音乐能激发这样的联想，真是太棒了。

The imagery of this poet moving through an endless desert is very moving, and it's really

wonderful that our music has inspired such a conception.

J: 谢谢！我非常喜欢我们融合不同流派的方式，而不是仅仅依赖传统乐器或重复前人做过的东西。我一直很喜欢Black Metal，尤其是它不断演变的过程。同属20 Buck Spin厂牌的另一支乐队Worm创作了一些极具前瞻性的Black Metal和Doom Metal音乐，这给了我很多启发。我也深受Dario Argento和Lucio Fulci等电影制作人的影响。他们对氛围、张力、黑暗感和超现实意象的运用，为我们构思音乐的听感与质感提供了极佳的参考。我觉得这张专辑感觉不同，是因为我们真正找到了属于自己的声音，也明确了想要通过音乐传达什么样的情感。民谣音乐在音色上并不一定非要拘泥于传统——我们可以汲取那些影响，并通过我们热爱的其他流派对其进行重新诠释。在录音室里拥有充足的时间和空间，让我们能更专注于编曲和细节，我认为这一点在专辑中得到了充分体现。

Thanks! I really enjoy how we’re able to blend different genres rather than relying on traditional instruments and repeating what’s already been done. I’ve always loved black metal, especially how it continues to evolve. Another worm based artist (Worm) on the label 20 Buck Spin have been doing some really forward-thinking black metal and doom that I find inspiring. I’m also influenced by filmmakers like Dario Argento and Lucio Fulci. Their use of atmosphere, tension, darkness and surreal imagery can be a really useful reference point for thinking about what we want the music to sound and feel like. I think this album feels different because we’ve really found our own sound and what we want the music to evoke. Folk music doesn’t have to be tied to everything that came before it in terms of the sound—we can take those influences and reinterpret them through the other genres we love. Having

the time and space to record properly in a studio also allowed us to focus much more on the

arrangements and details, and I think that really comes through on the album.

L: 我觉得这张专辑在作曲上留出了更多的空间——我一直很钦佩那些敢于在音乐中运用宽广动态范围的艺术家，因为这对音乐人来说是一种非常“脆弱”的姿态，尤其是在现场演出时。我觉得我们喜欢音乐，更多是出于它所蕴含的强烈情感，而非特定的流派，因此我们的音乐风格也深受各种各样的因素影响。

This album I think we allowed a lot more space into the compositions - I have always admired artists who brave a wide dynamic range in their music because it’s such a vulnerable position as a musician, especially live. I think we all like music for it’s intensity rather than it’s genre too so our influences are quite varied.

V: 你们参加过哪些音乐节？哪些给你们留下了深刻印象？能否描述一下那里的氛围？2026年你们计划参加哪些新的音乐节？能和大家分享一下细节吗？

Which music festivals have you attended? Which ones left a deep impression on you, and could you describe the atmosphere there? What new music festivals do you plan to attend in 2026? Could you share some details with everyone?

H: 今年我们将在Whitby参加“Hand of Glory”音乐节！我在英国最喜欢的音乐节是“No Bounds”和“Supersonic”。“No Bounds”主要是一个在谢菲尔德举办的电子和舞曲音乐节，我和Jas去过几次。我很喜欢它，因为那里既有白天的演出，也有夜店派对和讲座；音乐节利用了城里的许多场地，所以身处其中总能感受到浓厚的创意氛围。“Supersonic”则是一个能在一个地方欣赏大量重型音乐的好去处；2024年我和Jas去过一次，简直太震撼了。那个周末我最喜欢的演出来自印尼乐队Senyawa，他们用自制的zither创造出了一堵极具节奏感的宏大音墙。

We’ll be playing the Hand of Glory festival this year in Whitby! My favourite festivals in the UK are No Bounds and Supersonic. No Bounds is a predominantly electronic and dance music festival in Sheffield and I’ve been with Jas a few times. I enjoy it as there’s a mix of daytime gigs, club nights and talks; a lot of locations within the city are used for the festival as well so there’s a great creative feeling whenever you’re there. With Supersonic it's just a great way to see a lot of heavy music in one place; I went with Jas in 2024 and was blown away. My favourite set of the weekend was from Senyawa, a band from Indonesia, who use a home-made zither instrument to create a massive wall of hyper-rhythmic sound.

L: 今年我在丹麦参加了“Fanø Free Folk”音乐节，那种亲密、随性的氛围和独特的地理位置（远离喧嚣）让一切都显得充满魔力，第一次现场观看Sara Parkman的演出感觉棒极了。音乐节的选址对我来说非常重要，因为我最喜欢的是那种规模较小、置身于美丽自然环境中的音乐节。“Supernormal”和“Acid Horse”都特别好玩，因为它们的策划非常多元，而且自然景观为活动定下了独特的基调。几年前我很喜欢“Roadburn”音乐节，因为演出阵容太强大了——虽然我通常不太喜欢城市音乐节，但荷兰是个很适合游玩的地方，你能看出组织者热爱音乐，并且在安排阵容时倾注了大量的心血与巧思。2027年，我希望能第一次去参加“Roskilde”音乐节；我非常喜欢丹麦，所以对此充满期待！

I played the Fanø Free Folk festival in Denmark this year and the very intimate, informal atmosphere and isolated setting made it so magical, seeing Sara Parkman play live for the first time was incredible. The setting of festivals is really important to me as the ones I enjoy most are small scale and in beautiful nature, Supernormal and Acid Horse are both amazing fun because the curation is so diverse and the landscape sets the tone of the event. I did love Roadburn a couple of years ago because the line up was so great - I’m not usually into urban festivals but the Netherlands is a great place to hang out and have fun, you can tell the organisers love music and put a lot of care and thought into a line up. In 2027 I am hoping to go to Roskilde festival for the first time, I love Denmark so very excited about that!

V: 你们乐队为2026年还规划了哪些新项目？比如在创作或录制新作品方面——能否跟大家分享一些细节？

What other new projects does your band have lined up for 2026? For instance, regarding songwriting or recording new material—could you share some details with everyone?

H: 目前我们没有在制作新素材，但希望能安排在明年上半年进行巡演；不过，我们刚刚完成了一个混音作品。现阶段，我们打算利用这段时间排练专辑曲目、构思现场演出方案，并推进各自的个人项目或副业。此外，我和 Layla 还共同运营着一个名为“Nox”的哥特风格派对活动，所以我们现在正期待着即将到来的万圣节特别场！

We’re not currently working on any new material but are hoping to tour in the first half of next year; although we’ve just finished work on a remix. We’re currently planning on using the time to practice the album, come up with ideas for the live show, and work on our various solo-/side-projects. I also run a goth club night called Nox with Layla so we’re currently looking forward to our Halloween edition!

V: 你对neofolk这一流派有自己的解读吗？在英国，这种风格的氛围和演出场景是怎样的？有没有什么新民谣乐队值得向大家推荐？

Do you have your own interpretation of the "neofolk" genre? What is the atmosphere and scene like for this style in the UK? Are there any neofolk bands you would recommend to everyone?

J: 新民谣是一个相当开放的概念。我喜欢这种理念：它能汲取传统民谣的元素，并将其推向更黑暗、更具实验性或更具氛围感的领域，而不是局限于某种特定的音色或乐器组合。我们这些仍住在Leeds的人，经常参加由“Heinous Whining”主办的实验音乐之夜。这些演出通常包含多种流派，但在新民谣这一块确实相对匮乏。我们也喜欢并曾与一些民谣艺人（如Greet和 Lillian）同台演出，但利兹并不一定存在你想象中的那种典型的“民谣圈子”。不过，我们都曾参加过 Grove 举办的folk sessions并登台演唱，这对我们接触这一领域的音乐很有帮助。放眼整个英国，如果我们谈论自己喜欢的艺人——比如One Leg One Eye、OXN和Burd Ellen——那么民谣音乐的版图就显得广阔多了。不过，若要谈论一个明确的“圈子”或“场景”，我们很难做出评判，因为我们参与的演出往往是与那些偏向实验音乐、噪音摇滚或金属乐的艺人同台。

Neofolk is quite open-ended. I like the idea that it can take elements of traditional folk and push them into darker, more experimental or atmospheric places, rather than being tied to one particular sound or set of instruments. Those of us who still live around Leeds regularly attend experimental music nights most often put on by Heinous Whining, which are generally mixed bills genre wise, but there is definitely a lack of neofolk in that sense. There are other folk artists we like and have played with, such as Greet and Lillian, but there isn’t necessarily a folk scene in Leeds in the way you might imagine. We have all also attended and sung at the Grove folk sessions before, which has been a great way of connecting with that side. The folk scene across the UK feels much broader in terms of the artists we enjoy, such as One Leg One Eye, OXN and Burd Ellen. In terms of a distinct scene, though, it’s harder for us to assess, as the gigs we tend to play are often alongside artists who lean more towards experimental, noise or metal music.

V: 你们的音乐真的非常动人。我会尽力在中国推广你们的乐队，也希望这篇访谈能让更多中国乐迷发现、支持并了解你们。我很期待未来能听到你们的新作。在结束访谈之际，你们有什么话想对中国的乐迷说吗？

Your music is truly moving. I will promote your band in China, and I hope this interview helps more Chinese fans discover, support, and get to know you. I also look forward to hearing your new material in the future. As we wrap up, is there anything you would like to say to your fans in China?

H: 很高兴得知中国也有人发现了我们的音乐。我对中国的神话和语言很感兴趣（尽管我练习得还不够多），所以这真的让人很兴奋！如果能有机会去中国演出，那就太棒了。我们的朋友 Theo（来自Territorial Gobbing乐队）最近刚结束在中国的巡演，看起来非常精彩。希望大家能继续发掘并与我们的音乐产生共鸣。

I’m glad to hear that there are people in China discovering our music. I have a personal interest in Chinese mythology and language (although I don’t practice enough), so this is very exciting! It would be great if we got the chance to come over to play. Our friend Theo (Territorial Gobbing) recently returned from a tour in China and it looked amazing. Hopefully people will continue discovering and connecting with our music.

Wire Worms乐队主要作品：

Wire Worms - Beneath the Eildon Tree（2026）

Wire Worms - The First To Come In（2024）

Wire Worms乐队官方Bandcamp网站：https://wireworms.bandcamp.com/music

Wire Worms乐队官方Bandcamp网站：https://www.instagram.com/wire.worms/