Satyricon


Satyricon

New song

“This was finished today and it’s an excerpt from a song that is extremely important to us”

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“Vikingligr Veldi”


Enslaved – One Thousand Years Of Rain

Enslaved album on vinyl for the first time

“Vikingligr Veldi” illustrations

Artist Zbigniew M. Bielak (Ghost, Mayhem++) is the author of the illustrations for the release of “Vikingligr Veldi” for the first time on vinyl.

“Back in the early 90’s – regardless of how in fact infantile and superfluous – Black Metal was a gateway to many cultural references, prior unheard of in the metal millieu. For many, myself included, the eerie art of Theodor Kittelsen was among top tier mindblowing revelations of the time. It became synonymous with the emotional landscape of Norewgian Black Metal, thus complementing the much abused grandeur of classic Bathory album art with a whiff of pestilent cold. The new ill-spirited menace needed a face, and all kinds of historic, mythological and romantic illustrations flourished across the scene – often glitzy and out of context. Compared to their esoterically satanic contemporaries, Enslaved however were always way ahead of the pack in substantively painting their Viking kingdom.

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I see ‘Vikingligr Veldi’ album as a landmark of its time, inseparably tied to the era’s opulently imaginative yet sparsely presented aesthetics – with booklet images from ‘Transilvanian Hunger’ or ‘Hvis Lyset Tar Oss’ coming to mind instantly. When we set out to work on this reissue, I suggested preparing four song illustrations to enchance narrative of the lyrics. It was a welcome non-surprise to learn that Ivar and Grutle had much of the detailed imagery in mind when working on the album already, so it was a pleasure to have own hand guided by a well outlined concept. To keep things symmetrical and not invasive to the original would-be DSP layout, we decided to leave the instrumental song ‘Norvegr’ out, and focus on illustrating four songs only. This way the new artwork could be used exclusively on the innersleeves, while the inside of the gatefold remained reserved for the original CD content.

First of the four songs on the album – ‘Lifandi Liv Undir Hamri’ – roughly translates to ‘living beneath the hammer’. Much like its accompanying illustration, it paints a solemn picture of a belligerent and brave nation, setting out sails to divide and conquer under the watchful eye of their Pantheon – here impersonated as a silent Giant following in the distance. Bearing semblance to the mid-era Bathory vibe, this piece is to me Enslaved’s early aesthetics in a nutshell. Overwhelming forces of nature embodied as the conquering Majesty.”

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“Illustration to the second song on the album – ‘Vetrarnott’, shows a ghastly parade of spirits trapped in an aurora above the sacrificial stone circle. The lyric derived, diversified cast of nine – from a mad peasant to the Bergman nicked Death – as honed by Ivar to an extent of having it as painting on the studio wall – symbolizes unconditional allegiance and submission of all Life’s cycles to the providence of higher power. An all-encompassing ritual of being and nothing.”

“Midgards Eldar’ is the third, and to my ears most majestic and memorable song on ‘Vikingligr Veldi’. It evokes images of epic mountainrange lit by signal fires warning of danger. Presented against the massive archipelago, sentry’s protective effort makes the faint beacons seem to be merely a fanciful spectacle in the arena of northern nature and it’s legendary hospitality.”

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“As mentioned before, the illustration series for this definitive vinyl release of Vikingligr Veldi ends prematurely with the fourth song on the album – ‘Heimdallr’. Heimdall is the dualistic deity that bridges both stormy and calm ends of the rainbow at the gates of Aasgard. Both peaceful watcher and wrathful harbringer of battle, he permeates the very fabric of nordic life, assuring peace until Gjallahorn is raised from its resting position, in an inevitable turn of the cycle.
An album as densely textured with senses and ideas as this one, calls for a diligent, immersive listening experience. I believe the four song illustrations helped enchance the release with that extra bit of narrative, it would have probably had, should the turmoil around Deathlike Silence Productions’ abrupt demise not happen.”

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Nemesis Divina 20 years


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Nemesis Divina 20 years

To be honest, I have no clue what I was doing or where I was 20 years ago. I don’t even know who I was back then.
Don’t remember how the world was and I don’t care.
The past is in the past and fortunately stays there.
My eyes are placed in the front of my head for a reason:  to see the path in front of me, not one I left behind.
But one thing is true. The past is a good teacher  and, once in a while, we can travel back in time grab a good memory and make it alive again. With an upgrade, just like we do it with technology.
This said, I know a lot changed in my life in the last 20 years, so much that it feels like a different one. But one thing remains the same. My good taste in music and my respect for great professionals. So Satyricon was in my life 20 years ago, just like they are now and just like I’m pretty sure they will be 20 years from now.
Thank you for being part of the soundtrack of my life.
An army for the fight. And I’m a proud soldier.

Para dizer a verdade, não me lembro o que é que estava a fazer ou onde estava há 20 anos atrás. Nem sequer sei quem eu era nessa altura.
Não me lembro como era o mundo e não quero saber.
O passado está no passado e, felizmente, fica por lá.
Os meus olhos estão situados na parte da frente da cabeça por uma razão: para ver o caminho que está à minha frente, não aquele que deixei para trás.
Mas uma coisa é certa. O passado é um bom professor e, de vez em quando, podemos viajar para trás no tempo, agarrar numa boa memória e revivê-la. Com um upgrade como fazemos com a tecnologia.
Dito isto, eu sei que muito mudou na minha vida nos últimos 20 anos, tanto que por vezes parece uma outra vida. Mas uma coisa mantém-se na mesma. O meu bom gosto para música e o meu respeito pelos grandes profissionais. Por isso, os Satyricon faziam parte da minha vida há 20 anos atrás, tal como fazem hoje e, tenho a certeza, como farão daqui a 20 anos.
Obrigada por fazerem parte da banda sonora da minha vida.
An Army for the fight. And I am a proud soldier.

Mirror or the Norse soul Espelho da Alma Norueguesa



Mirror or the Norse soul

Espelho da Alma Norueguesa

I’m absolutely in love with this. It’s pure magic.

Makes me travel in time.

Makes me feel like I’m back into one of my most treasured past lives. A long desired present one.

Takes me home. Home to where my soul feels it should live. Where it belongs.

Takes me to that warm and shy spring sun light.

To that particular place in the woods that makes one wonder if reality was left behind.

To where your feet merge into the ground by the icy lake.

To the embracing darkness of a Winter afternoon. 

Thank you for making me feel so peaceful. So at home. For making my soul believe that one day, maybe, just maybe, it will return home. Even if the body stays somewhere else.

 

 skuggja

Ivar Bjørnson and Einar Selvik photo by Ester Segarra

 

Skuggsjá é uma peça musical escrita por Ivar Bjørnson e Einar Selvik.

Concebida por estes dois músicos,  das bandas Enslaved e Wardruna, respetivamente, a peça resultou de uma encomenda para as celebrações do 200º aniversário da Constituição da Noruega. A sua estreia teve lugar em setembro de 2014, no festival EIDSIVA Blot, em Eidsvoll, onde a Constituição foi escrita. Pouco depois da sua estreia, o projeto Skuggsjá foi anunciado como um dos cabeças de cartaz da 20ª edição do Festival Roadburn de 2015.

O desejo crescente de apresentar Skuggsjá a um público mais amplo acabou por levar Bjørnson e Selvik a gravar a peça na sua totalidade. O álbum resultante foi editado no início de 2016.

Skuggsjá pode traduzir-se como  “espelho” ou “reflexo” na língua nórdica (norse, ou seja, escandinava ou nórdica, na forma mais generalista, ou norueguesa). A peça  contextualiza o papel difícil da música na democracia na Noruega em 2014, mas reúne também tópicos da antiga história musical do país, solidificando a posição da música como a exportação cultural norueguesa mais importante.

Ao destacar ideias, tradições e instrumentos do seu passado, Skuggsjá conta a história da Noruega e reflete no presente aspectos relevantes do passado, conceitos à luz dos quais se procura refletir sobre os noregueses enquanto povo e nação. Uma magnífica tapeçaria de instrumentação metal, uma variedade dos  instrumentos mais antigos de toda a Escandinávia e da Noruega, bem como  poesia, em norueguês arcaico e moderno, Skuggsjá é uma fusão entre o passado e o presente, tanto lirica como musicalmente.

Tradução/adaptação by Castelo da Sandrix

Original in http://www.skuggsja.no/

http://www.season-of-mist.com/

Skuggsjá is a musical piece written by Ivar Bjørnson and Einar Selvik. Arranged to be performed by Enslaved and Wardruna and was originally initiated as a commissioned concert piece for the 200th anniversary of the Norwegian Constitution and premiered in September 2014 at the Eidsivablot festival, Eidsvoll where the constitution was written. Shortly after its debut Skuggsjá was announced as one of the headliner acts of the 20th edition of Roadburn Festival 2015.

The growing desire to present Skuggsjá to a broader audience has ultimately led the Bjørnson and Selvik to record the piece in its entirety. There will be an album in 2016 and details regarding its release will follow soon.

Skuggsjá translates into ‘mirror’ or ‘reflection’ in the Norse language, and the piece not only contextualizes harder music’s role in the democracy in Norway in 2014, but also joins threads from the country’s ancient musical history and solidifies harder music’s position as Norway`s most important cultural export.

By highlighting ideas, traditions and instruments of their Norse past, Skuggsjá tells the history of Norway and reflect relevant aspects from the past into the present day. In light of this we reflect on ourselves as a people and nation. In a magnificent tapestry of metal instrumentation, a wide variety of Norway´s and Scandinavia’s oldest instruments, and poetry in Norse and Norwegian, Skuggsjá is a fusion between past and present, both lyrically and musically. 

 

Line-up

Ivar Bjørnson: vocals, guitars, bass, keyboards
Einar Selvik: vocals, taglharpa, Kravik-lyre, goat-horn, birch-bark lure, bone-flute, percussion, electronics

Contributing musicians

Grutle Kjellson: vocals
Lindy-Fay Hella: vocals
Eilif Gundersen: birch bark lure
Olav L. Mjelva: Harding fiddle
Cato Bekkevold: drums