Verjaseiðr embraces the dark, the unknown, and connects with the other-worldly.
In other words, Verjaseiðr is feeding into the truth-seeking egregore of Draugablíkk. More importantly, the material included on our new album can sense — and ward against — primordial evil. Myrkt var af nótt.
Deer. Serpent. Wolf. Eagle. For those who listen carefully, Verjaseiðr has the potential to bring long-term protection against the long dark winter. That is, if you make your soul-transmission as strong as your cell phone reception (it is hardly a secret the former certainly does not need the latter.)
Hiǫrtr. Ormr. Úlfr. Arn. Life can be hollow and futile if founded on the false belief of a permanent reality. The material hooks into the spiritual, and vice versa — entangling through the forces of nature, which continues its cosmic trajectory to unify. The question is, against what?
Valgam Akatziri strikes out on his own — if only for a day — with a rather unexpected and uniquely-sounding single.
“Yngvi Tyrkja Konungr” captures the galloping spirit of the Migration Era’s horse lord warrior cultures, during which the Goths and the Huns became forever intertwined.
The Old Norse title Yngvi Tyrkja Konungr means “King Over Turks” or “Ruler of the Turks” — possibly in reference to Óðinn — whose army had subjugated one or more Turkic nomad tribes of the Great Eurasian steppe. A large number of Hun warriors spoke ancient Turkic, although their warrior-priest elites spoke an Indo-European language, likely Sogdian or Proto-Gothic.
In the Íslendingabók written by Ari Þorgilsson in the early 1200s, Yngvi Tyrkja konungr appears as the father of Njǫrðr, who in turn is the father of Yngvi-Freyr, ancestor of the Ynglings. According to the Skjǫldunga saga Óðinn/Wōden came from Asia and conquered Northern Europe.
“NÍU: Blood of the Amali (Ásaland Metal Cut)” is Draugablíkk’s debut album — includes nine folk metal tracks.
“NÍU: Blood of the Amali (Ásaland Metal Cut)” features nine tracks inspired by Scandinavian and Eurasian history, shamanic philosophies of the great steppes, and last — but certainly not least — Norse and Gothic sagas and myth as well as Scythian beliefs.
The number nine is significant in Norse myth, as made evident by Óðinn who sacrificed himself, to himself, on the tree of life Yggdrasill for nine days and nights, until the secret of the runes was revealed to him.
Further, the sagas describe how Þórr takes nine steps and falls to the ground dead after he fought his last fight with Jǫrmungandr, the Midgard Serpent, at Ragnarǫkkr. Heimdallr, the whitest horse lord of the Æsir, is also the guardian of the rainbow bridge Bifrost. He was born by nine sisters — an event echoed in the nine daughters of the sea-goddess Rán who rules the oceans.
Serpents in the Mist (Ásaland Metal Version)
From the Ashes of Aujum (Ásaland Metal Version)
To Særkland and Back Again (Ásaland Metal Version)
Wolfclan Rising (Ásaland Metal Version)
Battle of Brávellir (Ásaland Metal Version) [feat. Vinithor Amal]
Across the Varangian Sea (Ásaland Metal Version)
Húnagaldr (Ásaland Metal Version) [feat. Valgam Akatziri]
Draugablót: The Fall of Indra (Ásaland Metal Version)
Beyond the Silkroad (Ásaland Metal Version) [feat. Sigrún Spákona]
Old Norse saga release “Hel var Árheim (Norðrlandasaga)” is streaming now.
Hel var Árheim (Norðrlandasaga) is undoubtedly not the first work based on the Vǫluspá — the first and best-known poem of the Poetic Edda that tells of the creation of the world and its inescapable end. However, Norðrlandasaga comes with a number of small yet significant corrections not present in any other interpretation or translation of Snorri Sturluson’s Vǫluspá scripture.
ÞRÍR (three) is a significant number in Norse mythology. It is also the number of tracks included on the EP “ÞRÍR: Serpents in the Mist”.
The three Norns (Urðr/Wyrd, Verðandi, and Skuld) carves the threads of destiny as they rule over the past, the present, and the future of every individual (suggesting time was perceived as cyclical and not linear in ages past.)
The three roots of the world-tree Yggdrasill (where Óðinn sacrificed himself, to himself — pierced with his own spear Gungnir to gain knowledge of the runes.)
The three years without summer that will herald the coming of Ragnarǫkkr (Ragnarök) signals not only the end of the world, but also the glorious rebirth and return of Baldr (Balder), the dead Æsir god of ancient beauty, and his by Loki misled blind brother and mistletoe murderer, Hǫðr (Hodur).
The songs of Draugablíkk’s “ÞRÍR: Serpents in the Mist” blend east and west, death and war, and myth and history, to reflect the widely traveled world of the Vikings, the Rus’, the Varangians, the Goths, and those who came before them.
“EÍN: Ættarbál” includes two tracks: Burial at Sea (Ættarbál) & Hel var Árheim (Old Norse Poetry).
EÍN: Ættarbál tells the story of the creation of the world and hints at a historical origin of the Jǫtnar of Norse mythology.
Burial at Sea (Ættarbál) is a song that honors the fallen and is set against the sounds of sea and weather of long ago. As a dead chieftain’s ship is set ablaze by fire archers from the shoreline, his assembled comrades commend his soul’s journey to the old gods.
Written in Old Norse meter, Hel var Árheim (Old Norse Poetry) [feat. Viniþórr Amal], draws inspiration from the Vǫluspá (“Prophecy of the Vǫlva/Seeress”) which is the most well-known poem of Snorri Sturluson’s Poetic Edda (the Vǫluspá tells the story of the creation of the world and its coming end. It is told by a Vǫlva addressing Óðinn.)
Hel var Árheim (Old Norse Poetry) [feat. Viniþórr Amal]