Backworld

Backworld sounds like the intersection of ancient European tradition and the quiet, haunting isolation of the American Midwest. The music is anchored by Joseph Budenholzer's gentle baritone and intricate acoustic guitar work, but it is elevated by lush, neoclassical arrangements of cello, violin, and flute. It is a sound that feels both fragile and immemorial, possessing a liturgical weight that suggests folk music played in a sacred space rather than a tavern.

What distinguishes Backworld from the more aggressive or nihilistic corners of the neofolk scene is its genuine pursuit of beauty and spiritual transcendence. While many of their peers lean into industrial textures or martial rhythms, Budenholzer favors minimalist classical compositions and a sense of 'holy fire.' There is a profound warmth here, even when the subject matter touches on mortality or the apocalyptic, resulting in a sound that feels like a comforting embrace in a cold world.

Start with 'Anthems From the Pleasure Park' to hear the project at its most melodically refined and orchestrally rich. If you prefer something more stripped-back and intimate, 'Isles of the Blest' offers a perfect entry point into their more traditional folk-inspired roots. It is music for those who find solace in the quiet, the old, and the sacred.