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Draugablíkk
Concept EP “Wolves of Hyrkania (Gothunni Metal Cut)” is inspired by the tales and history of the Goths and the Huns — the former hailing from Scandinavia and the latter from the Eurasian steppe — these groups fought each other, lived with each other, and died together.
Listen & Stream ► https://draugablikk.ffm.to/june-11
The might and kingship of the valiant Goths and the archery of the horse-born Huns came to be known, respected and feared across Europe as the Gothunni (also known as the Ostrogoths.)
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℗ & © 2021 Draugablíkk. Licensed with honor and signed in blood to Legendo Music.
Concept EP “Wolves of Hyrkania (Gothunni Metal Cut)” is inspired by the tales and history of the Goths and the Huns — the former hailing from Scandinavia and the latter from the Eurasian steppe — these groups fought each other, lived with each other, and died together.
Listen & Stream ► https://draugablikk.ffm.to/june-11
The might and kingship of the valiant Goths and the archery of the horse-born Huns came to be known, respected and feared across Europe as the Gothunni (also known as the Ostrogoths.)
Subscribe to Draugablíkk on YouTube ► https://www.youtube.com/channel/UCg6dSYfD_XRZDqB1xmVnokw?sub_confirmation=1
Website ► https://draugablikk.com
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Bitchute ► https://www.bitchute.com/channel/xXbfQLzQ5qll
℗ & © 2021 Draugablíkk. Licensed with honor and signed in blood to Legendo Music.
Concept EP “Wolves of Hyrkania (Gothunni Metal Cut)” is inspired by the tales and history of the Goths and the Huns — the former hailing from Scandinavia and the latter from the Eurasian steppe — these groups fought each other, lived with each other, and died together.
Listen & Stream ► https://draugablikk.ffm.to/june-11
The might and kingship of the valiant Goths and the archery of the horse-born Huns came to be known, respected and feared across Europe as the Gothunni (also known as the Ostrogoths.)
Subscribe to Draugablíkk on YouTube ► https://www.youtube.com/channel/UCg6dSYfD_XRZDqB1xmVnokw?sub_confirmation=1
Website ► https://draugablikk.com
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Bitchute ► https://www.bitchute.com/channel/xXbfQLzQ5qll
℗ & © 2021 Draugablíkk. Licensed with honor and signed in blood to Legendo Music.
Concept EP “Wolves of Hyrkania (Aujum Unplugged)” is inspired by the tales and history of the Goths and the Huns — the former hailing from Scandinavia and the latter from the Eurasian steppe — these groups fought each other, lived with each other, and died together. They were under Attila’s rule. After Attila died, the Huns were under Gothic rule.
Listen & Stream ► https://draugablikk.ffm.to/june-4
The might and kingship of the valiant Goths and the archery and cavalry of the horse-born Huns came to be known and feared across Europe. They were the Gothunni (also known as Ostrogoths.)
Subscribe to Draugablíkk on YouTube ► https://www.youtube.com/channel/UCg6d...
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Bitchute ► https://www.bitchute.com/channel/xXbf...
℗ & © 2021 Draugablíkk. Licensed with honor and signed in blood to Legendo Music.
Wolves of Hyrkania’ is inspired by the tales and history of the Goths and the Huns — the former hailing from Scandinavia and the latter from the Eurasian steppe — these groups fought each other, lived with each other, and died together. They were under Attila’s rule. After Attila died, the Huns were under Gothic rule.
Listen & Stream ► https://draugablikk.ffm.to/june-4
The might and kingship of the valiant Goths and the archery and cavalry of the horse-born Huns came to be known and feared across Europe. They were the Gothunni (also known as Ostrogoths.)
Subscribe to Draugablíkk on YouTube ► https://www.youtube.com/channel/UCg6d...
Website ► https://draugablikk.com
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Bitchute ► https://www.bitchute.com/channel/xXbf...
℗ & © 2021 Draugablíkk. Licensed with honor and signed in blood to Legendo Music.
Wolves of Hyrkania’ is inspired by the tales and history of the Goths and the Huns — the former hailing from Scandinavia and the latter from the Eurasian steppe — these groups fought each other, lived with each other, and died together. They were under Attila’s rule. After Attila died, the Huns were under Gothic rule.
The might and kingship of the valiant Goths and the archery and cavalry of the horse-born Huns came to be known and feared across Europe. They were the Gothunni (also known as Ostrogoths proper.)
Listen & Stream ► https://draugablikk.ffm.to/june-4
Subscribe to Draugablíkk on YouTube ► https://www.youtube.com/channel/UCg6dSYfD_XRZDqB1xmVnokw?sub_confirmation=1
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℗ & © 2021 Draugablíkk. Licensed with honor and signed in blood to Legendo Music.
Fornrít: At Verja Sik (“Ancient Rite: To Protect Oneself”) is the 1st track from our most recent album Verjaseiðr. If you would like to support the egregore of Draugablíkk, feel free to purchase the album on Bandcamp (links below.)
Half of the warriors slain in battle are brought to Valhalla by valkyries (“valkyrjur”), where they become “one man armies” (“einherjar” in Old Norse) as they are prepared for the events of Ragnarök (Ragnarǫkkr) — the twilight of the gods that will ultimately result in the death and rebirth of the nine worlds (in the distant past, time was considered cyclical, whereas today, it is viewed as linear.)
So what about the other half of those men killed on the battlefield? They are brought to Freyja’s afterlife field which is known as Fólkvangr. Brave men selected for Fólkvangr are likely no less heroic than those destined for Valhalla. Literary sources for Fólkvangr are extremely limited; hence few details are known (you might find it interesting to know that Amajarl and Valgam have been researching the afterlife domain of Freyja for many years now — expect more details on Fólkvangr to follow.)
Listen on Spotify, Apple Music, Bandcamp etc. ► https://legen.do/Verjaseidr
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℗ & © 2021 Draugablíkk. Licensed with honor and signed in blood to Legendo Music.
#Heathen #Nordic #Folkmusic
What most people today refer to as “shamanism” is a spiritual discipline involving a skilled practitioner to interact with the forces of nature and the spirit world. Usually, the goal is to direct otherworldy energies into the physical world, such as bringing forth an entity for healing or protection. In some left-hand path cases, which is term for sinister “black” magic, the forces beyond the veil are used for darker purposes.
“Arnlokkur” is the 2nd track from our recently released album Verjaseiðr, if you would like to support us, kindly consider buying a digital copy on Bandcamp (links below.)
The artwork used in this animatic depicts a Scythian healer — an “Arnlokkur” or a “gam” — entering a trance-like state as he calls upon his bald eagle spirit-world travel companion to seek aid in the higher realms. Intriguingly, one of Óðinn’s many names/kennings was Arnhǫfði, meaning “eagle chieftain” or “eagle-head”. Shamans of ages past used various substances to enter deep, mental states — not entirely unlike Viking Age berserkers (“berserkir” in Old Norse) who many believe ate mind-altering mushrooms before they went into battle. There are many theories on how shamans might have influenced themselves to reach a higher state of mind. Both trained scholars and self-taught historians agree that one of the shamanic aids available around the northern hemisphere was “soma,” a common beverage mentioned in several Vedic sources. Soma was a mix of honey, herbs, and possibly also mushrooms, although no exact recipe has been found yet (being a honey-based drink, it is inevitable to reason that soma shared some similarities with mead.)
For more knowledge on the forces of nature, read: https://draugablikk.com/myth-mankind/the-lost-art-of-vardlokkur-shamanic-titles-and-the-forces-of-inner-nature/
Listen on Spotify, Apple Music, Bandcamp etc. ► https://legen.do/Verjaseidr
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℗ & © 2021 Draugablikk. Licensed with honor and signed in blood to Legendo Music.
Herjúlfamáni is the 3rd track from our recently released album Verjaseiðr (if you would like to support us, consider purchasing a digital copy on Bandcamp.)
The Old Norse term “máni” means moon, whereas the word “Herjúlfr” can be interpreted as “attack wolf” or “wolf rage.” Herjúlfar — raging wolves — are related to the úlfhéðnar warriors of Norse mythology. In Old Norse literature, wolflike beings are present in at least 14 sources. Those include Gylfaginning, Hrafnagaldur Óðins, Völsunga saga, Helgakviða Hundingsbana, and Hrafnsmál (also known as Raven’s Song.)
Hrafnsmál is one of the most important sources on wolf warriors. It was composed at the height of the Viking Age around 900 CE and specifically mentions ulfhéðnar and berserkir as different types of elite warriors with the shamanic ability to shape-shift. In the poem, wolf warriors and berserkers accompany and protect the Norwegian King Harald Fairhair, and they also fight together, side by side. The Old Norse word “berserkr” is likely derived from bearskin, just as “úlfhéðinn” is derived from wolfskin.
greniuðu berserkir,
guðr var þeim á sinnum,
emiudu úlfheðnar
ok ísǫrn dúðu.
Bear skins roared
For this was their battle,
While wolf skins howled,
And irons clattering.
Listen on Spotify, Apple Music, Bandcamp etc. ► https://legen.do/Verjaseidr
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℗ & © 2020 Draugablikk. Licensed with honor and signed in blood to Legendo Music.
Deer. Serpent. Wolf. Eagle. The kindred-animals of the Æsir can still be ridden by skilled truth-seekers in command of the spiritual. Especially during Yuletide, when the veil decorating the entrance to the otherworld is at its thinnest.
Speaking of the otherworldly, Verjaseiðr — the name of our new album — can be interpreted as “spiritual protection-habits” or “defense-magic”, both of which are heathen, spiritual concepts that relate to our album title. One such track in particular is Ǫndskuggi which means “soul shadow” or “shadow-self” — a well-known psychological concept that deals with the dark side of anyone’s unknown, deeper personality... Read More ► https://draugablikk.com/myth-mankind/verjaseidr-to-protect-oneself-against-evil-while-denouncing-chaos
Listen to the full album on Spotify, Apple Music, etc. ► https://legen.do/Verjaseidr
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℗ & © 2020 Draugablikk. Licensed with honor and signed in blood to Legendo Music.
Even though Óðinn and his Wild Hunt entourage is dangerous, the children of ancient Scandinavia would leave their boots out by the hearth on the eve of the Winter Solstice, filled with straw and sugar for Óðinn’s horse Sleipnir. In return, Óðinn would leave them a gift for feeding his horse so he could continue the hunt with renewed enthusiasm.
Óðinn is a man of many names, and two of those are related to the Yuletide: Jólnir and Jólfaðr, the latter meaning “Father Yule”. On the eve of the Winter Solstice, Óðinn rides the sky on his eight-legged horse Sleipnir with incredible enthusiasm, not unlike Freyr. Óðinn is accompanied by his valkyrjur, other Æsir, and a group of slain warriors from Valhǫll who are both dreadful and restless. The Wild Hunt is frequently referred to as “Oskoreia” — especially in Norway, although the correct etymology in Old Norse is... Read More ► https://draugablikk.com/myth-mankind/yuletide-jolnir-jolfadr-and-oskoreia-the-wild-hunt-of-the-asgardians
Listen to the full album on Spotify, Apple Music, etc. ► https://legen.do/Verjaseidr
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℗ & © 2020 Draugablikk. Licensed with honor and signed in blood to Legendo Music.
Stream & Listen ► http://drau.ga/YngviTyrkjaKonungr
VALGAM AKATZIRI STRIKES OUT ON HIS OWN — IF ONLY FOR A DAY — WITH A RATHER UNEXPECTED AND UNIQUELY-SOUNDING SOLO-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.
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℗ & © 2020 Draugablikk. Licensed with honor and signed in blood to Legendo Music.
Track 1 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)” — Serpents in the Mist was written in memory of the Vikings who explored and pillaged in the West, and the Varangians and the Rus’ who met their fate and fortune in the East. Many warriors and sailors surely dreamed of a place at Odin’s table in Valhalla, while a few may have longed for peace in Freyja’s Folkvanger or the halls of Hel.
Listen June 19 ► http://smarturl.it/Amaling
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℗ & © 2020 Draugablikk. Licensed with honor and signed in blood to Legendo Music.
Track 2 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)” — From the Ashes of Aujum is a hymn that remembers the Goths of Scandinavia and Gotland, who established the Realm of Aujum in ancient Scythia near the Black Sea (to the north of the Roman world.) Being skilled seafarers, the Aujum Goths (known as Ostrogoths and Visigoths in historical sources) raided across the Black Sea and into the eastern Mediterranean almost 500 years before the Viking Age.
The Goths became legendary when they attacked the Roman army near the city of Adrianople in 378 CE, an area that today corresponds to Turkey’s borders with Greece and Bulgaria. The battle ended with an overwhelming victory for the Goths and a crushing defeat for the Romans that included the death of the Roman Emperor Valens. The Gothic rage also led to the destruction of the core army of the Eastern (Byzantine) Roman Empire, the deaths of valuable administrators, and the ruination of all Roman arms factories on the river Danube.
The overwhelming Gothic victory is considered the start of a chain of events that eventually led to the fall of the Western Roman Empire in 476 CE (in which the mounted archers of the Eurasian steppe — the Huns —played no small part.)
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℗ & © 2020 Draugablikk. Licensed with honor and signed in blood to Legendo Music.
Track 3 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)” — To Særkland and Back Again is a song inspired by true events that took place in the Caspian Sea in the Eastern lands of Særkland. Historical sources describe how Varangian Rus’ (eastern Vikings) met betrayal, massacre, and death on the Caspian in the aftermath of a “raiding arrangement.” The Northmen had struck a deal with the warlords of the Khazar Khaganate to share in any Caspian bounty in return for free passage (the Khazars controlled the riverways and trading routes between the Black and Caspian seas, the Caucasus area, and access to the Silk Road.)
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℗ & © 2020 Draugablikk. Licensed with honor and signed in blood to Legendo Music.
Track 9 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)”. Beyond the Silk Road is a song based on the ancient network of trade routes that connected China and the Far East with the Middle East and Europe. The routes were established when the Han Dynasty in China opened trade with the West in 130 BCE and remained in use until 1453 CE when the Ottoman Empire boycotted trade with China and closed them.
Vikings entertained extensive trade relations with neighboring countries and foreign empires. Hence their knowledge and appreciation of silk primarily resulted from a peaceful exchange, as opposed to previously held, more violent views. Research of key Viking sites where silk was found indicates Viking silk had two main origins: the Eastern (Byzantine) Roman Empire, especially the capital Constantinople — Miklagarðr in Old Norse — and the Persian Empire.
Although the Silk Road reflects real trade routes used in the Viking Age, the term “Silk Road” didn’t exist. The name was invented around 150 years ago by a German geographer to describe trade between China and the Mediterranean in ancient times. The word Silk Road caught the imagination of many and has been a popular label ever since.
Listen now ► https://smarturl.com/Amaling
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℗ & © 2020 Draugablikk. Licensed with honor and signed in blood to Legendo Music.
Track 8 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)”. Draugablót: The Fall of Indra is a tune inspired by some of the similarities between the Norse and Indo-Vedic gods of thunder, the rise of Odin as the primary deity in Scandinavia during the Viking Age, and accounts in the Ynglinga and Skjǫldunga sagas that describe how Odin came from the eastern realms of Ásaland and conquered Northern Europe.
In the older Indo-Vedic pantheon, Indra is the god of lightning, thunder, storm, and war. He is magnificent in stature, strong as a bull, and rides a golden chariot drawn by two tawny horses. He is also regarded as the protector of the earth and mankind. Indra’s primary weapon is Vajra, an indestructible thunderbolt and lightning-capable snare. He also carries arrows, a great hook, and a net.
Thor is the Norse god of thunder and strength who protects mankind from evil and rides a chariot drawn by two goats. He is strong as a bull, wields the indestructible hammer Mjǫllnir (Mjölnir) that also functions as lightning, commands the wind to create storms, and is also associated with sacred groves and trees.
Indra slays Vritra, a giant serpent in the Indo-Vedic myths, who restrains human prosperity and comfort. During the final battle between the two, Vritra spits enormous amounts of venom that risks destroying the world. In post-Vedic texts, Indra’s importance declines, and he evolves into a minor deity in comparison to others in the emerging Hindu pantheon.
In Norse mythology, Jǫrmungandr (Jörmungandr) is a giant, poisonous sea serpent that encircles the world and is a threat to mankind. Jǫrmungandr’s arch-enemy is Thor, who kills the world serpent in the final battle of Ragnarǫkkr (Ragnarök) that signals the end and rebirth of the world. Thor also dies in the fight, killed by the serpent’s poison.
Track 7 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)”. Húnagaldr is a song-like chant inspired by the Icelandic Saga of Hervör and Heidrek (Hervarar saga ok Heiðreks) that describes the war between the Goths and the Huns in the 300s CE that might have taken place in the Gothic realm of Aujum near the Black Sea. The conflict included not only warriors and mounted archers, but also Haliurunnae who were Proto-Norse conjurers of Vanir rune magic and seiðr (seidr) on the Gothic side, and shamanic sorcerers and fortune-tellers known as qam (“noble warrior priests”) on the side of the attacking Hun confederation.
Sagas, myth, and legends always seem to include notions of magic and shamanic practices, the supernatural, and spirit worlds. This holds true for Norse, Gothic, Slavic, and Scythian cultures, to name a few. In fact, shamans predate all organized religions, as made evident by a buried woman in her 40s discovered in the Dolní Věstonice archeological site of the Czech Republic in the 1920s. Her grave is the earliest known undisputed burial of a shamaness and dates back to 30 000 BCE.
The nature-based magic of ancient Scandinavia around the time of the Gotho-Hunnic wars was known as seiðr and resembled shamanic practices of nomadic cultures in the East. Those included the rituals and chants of the whip-swirling Scythian Enarees, and the drum-beating dances of Hunnic shamans. Not unlike Eastern shamanism, Norse seiðr was intuitive and required the practitioner to enter into an almost unconscious state of trance through psychoactive substances that caused alterations in perception, cognition, and mood.
At the height of the Viking Age, around 450 years after Attila’s Hunnic Empire had collapsed and roughly 700 years after the first Gotho-Hunnic war, two types of magic were practiced in Scandinavia — seiðr and “Odinic” galdr. Seiðr was commonly performed by women, and in the Viking Age, it was viewed as “womanish” and especially shameful if carried out by a man. Galdr, however, was considered honorable and manly, contrary to the somewhat mainstream belief that magic and foretelling was almost exclusively carried out by women in Norse culture. This is made apparent in the saga of Egil Skalla-Grímssonar, who was a highly skilled rune magician, skaldic poet, and loyal follower of Óðinn. Unlike seiðr, galdr seems more analytical, conscious, willed, and ego-oriented. Typical of galdr would be the enactment of a “magical persona,” or alter ego, for working the will.
Galdr is derived from the verb gala, which means “to crow, chant,” and was used to verbally invoke a spell or a ritual charm through speech or “singing.” According to medieval Icelandic literature from the 1400s and 1500s, Óðinn was considered the natural master of galdr and was referred to as Galdraföður, meaning “father of galdr.” In the Hávamál, there is a boasting song in which Óðinn recounts the magical feats he can perform. The sagas also tell of Óðinn learning the arts of seiðr from the Vanir goddess Freyja — although the reverse is not clearly stated in the Old Norse sources. However, it is known that women also practiced galdr.
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Track 6 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)”. Across the Varangian Sea is an homage the væringjar — warriors from eastern Sweden and Gotland. The reputation of these men preceded them, and early inhabitants of Russia used the designation Variagi for all tribes of eastern Scandinavia and Gotland. In addition, the first Russians referred to the Baltic Sea as the Varangian Sea. In other East Slavic and Byzantine sources, the Varangians are also associated with the Baltic region, which is called Varangia. In Arabic, the Baltic Sea was called Bahr Varank, also meaning the Varangian Sea.
The Varangians became recognized for their determination and military prowess. While serving as mercenaries, the Varangians protected both Scandinavian shippers on the Russian riverways, as well as nobility and merchants in distant lands like Greece, Byzantium, and Armenia. Varangians also plundered surrounding countries and even fought one another for “contracts” to attack a specific land.
The Varangians achieved their most lasting fame as the Varangian Guard, an elite military group protecting Roman Emperors in Constantinople, and also as the founders of the Rus kingdoms in present-day Russia and Ukraine (under Varangian rule, Kyiv became the capital of Kievan Rus’.)
The term Varangian is derived from Old Norse “væringjar”, a word used by the people of Scandinavia and Gotland who lived in the Viking Age to describe warriors who sold their services to others — those who were paid protectors.
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Track 5 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)” — Battle of Brávellir is a song inspired by the legendary battle at Brávellir which took place in the southeast of Sweden in the 600s or 700s CE. Remarkably, the battle was one of honor and wasn’t based on aggression. For what reason then?
The Danish King, Harald Wartooth (Haraldr hilditǫnn in Old Norse), had realized he was growing old and might die of age and not go to Valhalla. Hence, King Harald set out to arrange a battle to ensure his own death would be glorious. Harald had inherited Sweden (Svíþjóð in Old Norse), an area he didn’t rule directly, from his maternal grandfather Ivar Vidfamne. King Harald did however, directly rule Denmark and the eastern half of Gautland (today Östergötland, not part of Svíþjóð at the time.) In contrast, Harald’s vassal king, Sigurd Hring (Sigurðr Hringr in Old Norse), with whom Harald was on “friendly” terms with, was the ruler of Sweden and western Gautland (Västergötland.) Thus, King Harald reached out to his Swedish Vassal and asked if he would let him leave life — gloriously — in a great battle.
According to Danish chronicler Saxo Grammaticus, both sides prepared for war for seven years and mustered armies of 200 000 men. Whole forests were chopped down to build three thousand longships for transport. Harald’s Danes built so many ships they could walk across the sound between Denmark and Sweden.
At first, the two armies fought collectively, but after a while, one of King Harald’s heroes became the center of attention. The Danish hero slew first the Wise Counselor of King Sigvard, and also three Swedish princes of the royal dynasty. Humbled, Sigurd sent forth his own champion, who managed to wound King Harald’s attacking hero but was himself even more seriously injured. Harald’s hero then killed another champion of Sigurd and the Swedes by taking his sword in both hands and slashing a path through the Swedish army until the Danish warrior finally fell — riddled with arrows from archers of Telemark (in Norway.) Shortly thereafter, a shieldmaiden fighting for the Danish side killed another Swedish champion. Raging furiously, another hero of Sigurd ran forth to the Danish army, killing warriors all around him, and cutting off the arm of a shieldmaiden that held a Danish banner. Sigurd’s champion then proceeded to kill four of Harald’s best warriors.
Harald had observed the heroic deeds, as he stood on his knees in his war chariot — with one sword in each hand — and killed a great many warriors. After a while, Harald’s steward Bruni determined his King had amassed enough glory, and crushed Harald’s skull with a club.
Sigurd Ring won the battle and became the sovereign ruler of Sweden and Denmark. According to Grammaticus’ writings, 40,000 warriors had died.
Historians agree the Battle of Brávellir cannot be confirmed — nor denied.
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Track 4 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)” — Wolfclan Rising is a warsong dedicated to the Heruli, an ancient tribe said to have lived in Scandinavia more than 2000 years ago, but were expelled by the Danes and moved to ancient Scythia, more specifically they roamed the marshes near the Sea of Azov (where they befriended the Goths of Aujum.)
The Heruli thought of themselves as wolf warriors. Wolf warriors are mentioned in the legends and myths of the Indo-Europeans, Turks, Mongols, and many Native American cultures.
The Heruli were devotees of the early Gotho-Germanic wolf-god Wodan, who became Odin in the Viking Age. Likely, they were related to the Úlfhéðnar of Norse mythology. The Heruli would attain states of ecstasy described as wodnysse in Old English — a language comparable to Old Norse — which literally translates to “Wodan-ness,” that is, madness inspired by Wodan — the raging wolf-god.
According to Procopius, a prominent Graeco-Roman scholar who lived in the first half of the 500s CE, many Heruli returned to Scandinavia after the fall of the Western Roman Empire in 476, and settled beside the Gautoi (Geats/Goths). The earliest runic attestation of the Heruls in Scandinavia is an inscription found on a sword-mounting in the Nydam Mose ship burial in Denmark that is dated to 420. The sword’s runes read HARJILAZ AHTE, meaning “Marauder Owned [this].”
The tribal name Heruli is plausibly related to the modern Swedish word härjulvar, which literally translates to “marauding wolves.”
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Track 3 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)” — To Særkland and Back Again is a song inspired by true events that took place in the Caspian Sea in the Eastern lands of Særkland. Historical sources describe how Varangian Rus’ (eastern Vikings) met betrayal, massacre, and death on the Caspian in the aftermath of a “raiding arrangement.” The Northmen had struck a deal with the warlords of the Khazar Khaganate to share in any Caspian bounty in return for free passage (the Khazars controlled the riverways and trading routes between the Black and Caspian seas, the Caucasus area, and access to the Silk Road.)
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rack 2 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)” — From the Ashes of Aujum is a hymn that remembers the Goths of Scandinavia and Gotland, who established the Realm of Aujum in ancient Scythia near the Black Sea (to the north of the Roman world.) Being skilled seafarers, the Aujum Goths (known as Ostrogoths and Visigoths in historical sources) raided across the Black Sea and into the eastern Mediterranean almost 500 years before the Viking Age.
The Goths became legendary when they attacked the Roman army near the city of Adrianople in 378 CE, an area that today corresponds to Turkey’s borders with Greece and Bulgaria. The battle ended with an overwhelming victory for the Goths and a crushing defeat for the Romans that included the death of the Roman Emperor Valens. The Gothic rage also led to the destruction of the core army of the Eastern (Byzantine) Roman Empire, the deaths of valuable administrators, and the ruination of all Roman arms factories on the river Danube.
The overwhelming Gothic victory is considered the start of a chain of events that eventually led to the fall of the Western Roman Empire in 476 CE (in which the mounted archers of the Eurasian steppe — the Huns —played no small part.)
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Track 1 of 9 from the album “NÍU: Blood of the Amali (Ásaland Metal Cut)”.
Serpents in the Mist was written in memory of the Vikings who explored and pillaged in the West, and the Varangians and the Rus’ who met their fate and fortune in the East. Many warriors and sailors surely dreamed of a place at Odin’s table in Valhalla, while a few may have longed for peace in Freyja’s Folkvanger or the halls of Hel.
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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 Viking chieftain’s ship is set ablaze by fire archers from the shoreline, his assembled comrades commend his soul’s journey to the old gods.
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Draugablíkk is a Russo-Nordic neofolk act that blends Scandinavian sounds and mythology with Eastern musical traditions like ancient throat-singing. ᛟ