“NÍU: Blood of the Amali (Ásaland Metal Cut)” is our debut album which includes nine boreo-pagan metal tracks.
“NÍU: Blood of the Amali (Ásaland Metal Cut)” includes nine tracks, which are inspired by Scandinavian and Eurasian history, shamanic philosophies of the great steppes, and last — but certainly not least — by Norse and Gothic sagas and myth, and also by Slavic and Scythian chroniclers.
The number nine is significant in the Old Norse myths, as made evident by Odin — who sacrificed himself, to himself, on the tree of life Yggdrasil for nine days and nights, until the secret of the runes was revealed to him. Further, the sagas describe how Thor takes nine steps and falls to the ground dead after he fought his last fight with the Midgard Serpent at Ragnarok (Ragnarǫkkr). Heimdall, who is the guardian of the rainbow bridge Bifrost, 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]
Single release “Hel var Árheim (Norðrlandasaga)” is streaming now.
Although Hel var Árheim (Norðrlandasaga) is undoubtedly not the first musical 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 — this version comes with a couple of small but significant variations.
ÞRÍR (three) is a significant number in Norse mythology. It is also the amount of tracks included on the “ÞRÍR: Serpents in the Mist” EP.
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]