It was late 2002 when Kludde’s debut demo, Langs Scheld- en Denderland, first clawed its way out of the Flemish underground. The project started taking shape the previous year, after Snoodaert and Uglúk stepped away from their earlier band Clauw (1998–2001) and set their sights on a shared mission: atmospheric, old-school black metal steeped in the cold spirit of the early-to-mid ’90s second wave.
Initially a side project, Kludde began writing quickly, helped along when Kajsr (ex-Clauw) joined with a newly acquired drum computer. As live shows came calling in 2002, the line-up expanded with Tering on lead guitar and Desecrator on bass, and the band’s earliest gigs were as chaotic and visceral as you’d hope. In early November 2002, the demo was recorded in a single weekend at Arsonist Studio (Aalst) with Patrix, with Tering also handling bass duties when Desecrator didn’t make the session. Released soon after on CD-R, it built a strong reputation in the underground, later earning a 2003 tape reissue via Nightmare Productions, a version that’s since become a sought-after collector’s item.
Now, in 2026, Kludde mark 25 years with a newly upgraded re-release of Langs Scheld- en Denderland, co-released by Consouling Sounds and Thenra Collectivum on May 22, 2026, professionally presented for the first time as a 6-panel CD digisleeve and black vinyl. The release has been remixed and remastered by Cerulean, aiming for clarity without losing the original atmosphere, and comes with refreshed artwork, plus two anniversary shows featuring original singer and co-founder Uglúk, with the demo performed in full alongside classics and long-unplayed cuts.
To celebrate this new edition, we’ve asked Snoodaert from Kludde to share three of their main influences for this release as part of our Under the Influence feature.
You can order Langs Scheld- en Denderlandand other Kludde releases from the Consouling Store here.
Enslaved – Frost
I was 13 when I borrowed Frost by Enslaved from a classmate. I still remember the moment when, after the ominous intro, the opening riff of ‘Loki’ blasted through the speakers for the first time. The energy, the icy production, and the chilling screams, combined with furious guitar riffs and the fastest drums I’d ever heard at the time. Never before had I heard such otherworldly sounds. Terms like “black metal” and “viking metal” were completely unfamiliar to me, but this album opened up a whole new realm. Without Enslaved, I would never have become the musician I am today. This was also the first metal album I listened to where all the lyrics—and even the credits and booklet notes—were not in English, but entirely in Norwegian, which added a deeply mystical atmosphere to the music and the overall experience.
Aeternus – Beyond the Wandering Moon
Compared to many of their fellow countrymen, Aeternus never made it to the top tier of Norwegian black metal. In my opinion, they certainly belong there. To begin with, their brooding mix of black, death, doom, and folk metal was incredibly original. To this day, there are no bands that sound like Aeternus. Vrolok’s drumming, in particular, is quite unique, and his style stands out in terms of originality compared to what most black metal drummers were doing at the time. When we were writing the songs for Langs Scheld- en Denderland, we literally used drum patterns from this album as templates and adapted our riffs to fit them. Needless to say, this album had a huge influence on Kludde in its early days.
Judas Iscariot – Heaven in Flames
In my humble opinion, Heaven in Flames is without a doubt the best black metal album to come out of the United States. And I still stand by those words nearly three decades later. A somber musical journey through melancholic landscapes and desolate, barren wastelands. Minimalist guitar riffs that evoke the spirit of Darkthrone’s Transilvanian Hunger. The sparse use of incredibly tasteful synths creates a transcendental atmosphere. This is the epitome of raw, primitive black metal: ugly, yet stunningly beautiful. Although Kludde never sounded as somber as Judas Iscariot, the influences are clearly evident in the minimalist riff style and the melodies on Langs Scheld- en Denderland.
