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Wolfhorde is a metal band from Finland that produces music loaded with acoustic and traditional elements and mixes them together in a way that creates strong atmospheres. Lyrics ranging from the times of iron ages to present world create the themes inspired by mythology, history, nature, shamanism and so on. The music of Wolfhorde has past some serious changes during the band's lifetime. From the early influences of power metal to the present folk metal style and even thrash metal in between.
The beginning of the band goes back to early 2000's when 4 former members (Hukkapätkä, Werihukka, Haaska and Raato) of the band started to play for their own pleasure. At the same time Werihukka started to experiment composing metal songs. After a while the traditional elements became the signature of the compositions. It was only after that Werihukka noticed there where bands that already mixed folk with metal. Many other elements were then added to the songs. At that point Hukkapätkä started writing lyrics and after we noticed we were co-operating to create music that we wanted to do. Unable to get a working live line-up Wolfhorde has distinguished in the world of recording and producing music to our fans all over the world. During years Wolfhorde has gained a good underground name.
Huldre is the elegant fusion of Nordic folk music and metal. Here wolves, forest nymphs and trolls mingle in the wonderful contrasts between catchy melodies, sonorous atmospheres and heavy rhythms. The sound is Nordic and medieval and the lyrics weave Nordic folklore and mythology into the brutal riffs.
Huldres sound is unique - as a beautiful bastard that might count Lumsk, Korpiklaani and Eluveitie among its numerous parents. An intense hurdy-gurdy and flute entangled with vivid violin on the solid ground of thundering guitar, bass and drums topped by an almost unearthly beautiful female voice might give a hint of the sound universe.
Live Huldre delivers a tremendous show where the audience is seduced into sweaty stomp dance among sirens, trolls, metal heads and other underground creatures.
The very first seeds of Huldre were sown in 2006. As with all things in life it took a few years to mature and summon the right spirits, but in early 2010 the band played their first concerts, released the self-titled 5-track demo “Huldre” and with the addition of the hurdy-gurdy and flute in late 2010 the line-up of today was complete.
In 2012 Huldre released their debut album "Intet Menneskebarn" (No Human Child), which was recorded and produced in LSD Studio in Lübeck (DE) by Lasse Lammert. The album has received international attention and is highly praised by critics for the unique and contrasting sound universe as well as the complex and catchy compositions.
The same year Huldre was elected "Surprise of the year 2012" by Danish webzine HeavyMetal.dk.
In May 2014 Huldre won Wacken Metal Battle Denmark 2014 by winning both preliminary heats, the online audience poll as well as the finale and went on to gain 3rd place at the international finale at Wacken. This lead to many concerts throughout 2014 and 2015 at both small and large metal festivals, and various venues in Europe, including Copenhell and Trolls & Legends (where they won the honourful prize "Troll d'Or - Musique"), and a rise in the attention to the band and their material.
In 2016 the band was inducted into Ragnarock – The Museum For Pop, Rock and Youth Culture as one of three bands illustrating a new wave of Danish Rock and Metal. In late 2016 the bands second album “Tusmørke” is released.
Virelai is based in Denmark and plays music from the middle ages and from the Danish folk tradition. The repertoire includes dancing melodies from the south of Europe as well as old Nordic ballads and songs.
Through the Nordic ballads and Central Europe dance tunes we work with the Nordic and European music roots, the popular medieval. And the experience of the music compositions and sound, played on old instruments, awakens something recognizable to people, something we have in common.
Virelai was founded in 1999 .We took the name Virelai, an Old French name for the beauty of music, dance and poetry. Virelai has in years past been stuck looking at this summer's medieval markets in Odense, Horsens, Enø and Bornholm, where we have helped to deliver the soundtrack to the authentic medieval atmosphere that has been created here. We are also the house band at Brøndby Medieval Center. Over 200 concerts in museums, festivals, venues, schools and medieval markets in Denmark, Sweden and Central Europe it has become.
Band members:
Mia Guldhammer -Sang, tambourine og percussion
Søren Hammerlund - Drejelire, mandola og sang
Martin Seeberg - Skalmeje, fløjter, jødeharper, bratch, percussion og sang
Jacob Lund - Davul, rammetromme, darbourka, tambourin
Ithilien is a Belgian metal band defining itself as FolkCore to underline the combination of traditional Belgian (Folk) music, played with Flemish bagpipes, a hurdy gurdy, whistles and a bouzouki ; and a modern metal genre (Death Metal, MetalCore)influenced by bands such as Parkway Drive, Architects, All Shall Perish, and many more. Ever since a stable and ideal line-up was formed in 2012, Ithilien has been working hard on its music, live performances and its image in general, making it a concept more than just another folk metal.
SOWULO is a
Dutch pagan band that makes ambient folk music inspired by 'viking mythology'.
With modern-day instruments they create music that takes you back to the roots
of this inspiration, the roots of Yggdrasil.
The aim of
this musical project is to awaken the viking gods, and to become aware of our
rich spiritual heritage.
Their debut
album is named after the Germanic name for the sun, Alvenrad. The concept of
this album is built upon the pagan year feasts. The 'authentic' pagan society
celebrated the changing of the seasons, which was caused by the sun.
They are
ready to climb the stage and join you with celebrating our great pagan legacy!
it long
ago, was a forgotten era of all, a vile god, arrogant and drunk with power
removed all entertainment to men. He broke through the drums, flutes broke and
cut the cords of guiternes.
A gloomy
silence fell on the ground, with his sad lot.
Satisfied
with his cruel victory, it went to sleep.
A hermit
visiting the nearest town, saw with grief the reigning chaos. He threw a
challenge to the evil god that if he managed to make it sound a piece of wood
and goat skin, it should repair any misdeeds. By cons, if he failed, it should
serve this unjust god for all eternity. The god accepted biensur laughing, and
the hermit disappeared during long days.
It's a
beautiful spring morning, the dawn, the inhabitants of the town were awakened,
even before the cock crow, with a thunderous melody, as strong a hundred horses
neighing.
Red with
anger, hate god fell out of bed and ran to know the origin of all the noise.
He saw the
hermit, holding under his arm goat skin, filled with air which came out three
pieces of wood, on which he put his fingers to change the sound.
All the
villagers out of their homes and came dancing around the hermit and the god.
The latter cursed and glaring at the crowd of people present, he disappeared forever.
Since that
glorious day, men play this instrument to keep away the gloom, but above all to
prevent this evil god of sleep.
Born in
2013 from the common passion of 4 musicians for the pagan-folk and the medieval
fantasy world, Acus Vacuum will lead you into the mysterious world of the lost
rites and rituals of the legendary people of Arduina! Powerful bagpipes with
catchy melodies accompanied by drums vibrating the heart of the earth invite
the body and mind of men at the party! Their dancer highlights their music with
rites of their forgotten culture in a mixture of shamanism and tribal. Their
pagan-folk / neo-medieval style, surely make you tap your feet, clap your hands
and raise your glasses! Let yourself be carried away by their music!
Lunar Womb
was a ambient/ folk/ electronic project of me started in 1995 with a couple of
friends. After the first demo I continued alone and released another demo in
1997. In 1998 I got myself some better musical equipment to fulfill my visions
and this cassette demo was planned to release in the turn of 1998/1999.
Due to
other band- related things, It took me some time to finish it properly but when
it was finally ready I felt it was so outdated I didn´t want to release it
anymore.
I found the
tracks and the layout- files from my backups in 2015 and after careful
reconsideration I decided to finish what I had once started and remastered it
from the original pieces. All the artwork and layout was originally intended
for a cassette release and the music is 100% original except for remastering
for a bit more better listening experience.
This
release is an important part of my musical history and in a way can be
considered the only "solo album" I have ever done- and probably ever
will. It can also be found from various places in the internet for free
listening or to download but due to numerous requests I am also putting it to
bandcamp as lossless files.
I hope the
atmosphere and the burning passion and longing for something ancient I was
intending to create back then can still be heard over 15 years later.
Starting
out as a story, Helisir was about a Northern Avalon, shrouded in mystery and a
combination of the Norwegian words: Helig (Sacred) and Sirkel (Circle). Since I
was 14 years old I've always had this "thing" for Norway and after my
trip to the Lofoten in May 2014 this "thing" became the most solid
foundation for Helisir.
I guess
this year was needed for the idea to fully develop itself and I needed more
music too! I've spend my time composing and experiencing. Creating by force
never did me any good so this time my approach was completely different.
Ever since
I was little, I've been involved with music. My dad used to have an organ at
home which was later replaced by a Tyros 2, 3, 4 and now the 5. I can't even
explain how grateful I am as the Tyros has become my main ingredient for all my
compositions. It helped me develop my own style, my own rythms and discover
hidden talents at the right time.
I also play
whistles and flutes like the Irish Tin and Low Whistle, the Chinese Hulusi and
Dizi and the Japanese Shakuhachi as well as Alt Flute and Recorder. I also play
Hurdy Gurdy and a bit of harp and violin, but as these require much more
lessons, time and money I do not consider them my main instruments like vocals,
keys and flutes.
In the past
I've performed at several festivals both in the Netherlands and beyond: Elf
Fantasy Fair (NL), Castlefest (NL), Fantasiafest (NL), Spaceritter (DE) and 3
Wishes Faery Fest (UK). My plan is not to just perform at festivals, but also
smaller venues like weddings, receptions and/or occasions. I also compose on
request: lullabies for babies (yet to be born) , toddlers, kids and older. If
you have a request or wish me to compose something you can always contact me.
About
Helisir
Helisir is
an ambient experimental folk project that combines several elements in those
musical categories. The overall use of synths, bells and ethereal strings make
the entirety of the project sound dreamy and atmospheric, while the sound of
flutes can be heard in the distance. A variety of myths, folklore, poetry and
stories are combined into packages of songs. A recognizable sound is the wide
and varied use of vocals.
Songs are sung in several languages, but mainly
English and Norwegian as the themes are inspired by Norwegian legends and
fairytales. The symbol vegvisir accompanying and appearing often in artform is
at the same time a way to protect this project. All songs are an ode to
ancestors, bards, poets and those who can find a peace of heart and mind in the
crafts of creation.
Line-up:
Jacqueline's
Music has
always played a huge role in Jacqueline's life. Starting in her first band at
the age of 14, choral experience since the age of 7 and succesfully launching
her own endeavours publicly twice it remains the red thread that guarantees a
well functioning human being. Without singing, the plucking of strings, the
pressing of keys or the air flowing through flute playing... Music is heavily
intertwined with daily life.
Combine
that with the love for games, movies and the music often accompanied and you
have a well scrambled mix of intentions, ideas and concepts. Add to that a
healthy obsession for the Norse Path and a fascination for the Norwegian,
Icelandic, Irish, Scottish and Japanese culture and tada! Destined to end up in
the folk scene with a nice twist to it.
After
finishing school in 2011 and troubles finding work that fits a wild spirited
nature Jacqueline has now consciously chosen the path of the musician. The wish
to connect and nurture communities that honor the magic and sourcefulness of
our Earth came more into existence with Helisir. Consisting of the two Norse
words HELIg + SIRkel a new dream was born in 2012 and the debut album
"Ravn" released in May 2015.
But the
journey does not end there! A vast revival of the old faithes is at hand, more
and more people realize that not only do we live and work on this planet: she
is a very living and breathing being providing us with shelter, food and
EXISTENCE. Respecting the older traditions who took way more care of our Mother
is something that slowly returns in the collective consciousness. Helisir
wishes to attribute to that by music that taps directly from the Greater Divine
with the main source being the Norse Gods and Goddesses, deities, myths and
lores both known and from the Dream Realm.
With the
succesful crowdfunding campaign "Fólkvangr" our ships have set sail
for new directions. Freyja the Goddess of love, war, mysticism and all aspects
of powerful female life and death energy will be the main subject of the new
album which is currently being recorded. Jacqueline is also part of LEAF which
also focusses on the Nordic side of the folk music scene. There will sometimes
be mixed acoustic shows with both Helisir and LEAF playing for you. Check out
the Agenda to see if we play anywhere near you.
The Faerie and Pagan folk band SeeD plays music of their own creation. Every single one of the band members helps composing and writing the music, thus forming an organic flow of creation.
SeeD taps into the mysterious world of the Ancient Fae, the modern world of dreams and passions in life. The four musicians travel from festival to festival to inspire the people lost in this world and to tell the listener tales of the vast Faerie realms or to simply get everyone dancing to the energetic, self-composed Pagan folk tunes.
Line-up
Koen van Egmond: Burke whistles in F & D, Susato double whistle in C, Sallow flute in D, Xaphoon, Tombak, Offerdalspipa
Lars van Egmond: Backing vocals, guitar and percussion (davul, didge, darbuka and jaw harp)
Sara Weeda: Ashbury Irish bouzouki (open D tuning) called ‘Bronagh’, Brendan White double skin Irish bodhrán called ‘Donar’, Cort Earth acoustic 12-string steel guitar called ‘Ysis’.
Tracklist: 1.The Veil 2.Portal to Elfland 3.Twilight 4.May’s Jig of Lunacy 5.Nymph Hunt 6.Torc 7.Aerie 8.Brave 9.Green Man 10.Lady of Laughter 11.Land of Melancholy 12.Gathering Mushrooms 13.Merry Making 14.CPPS
Track 1: The Veil
CeltCast: The first song, ‘The Veil’, sets the atmosphere for a mystical journey, which is of course very appropriate for and album which is intended to form a Portal to Elfland. During this track there is some playing going on with the stereo image of the music, which definitely gives it a very mysterious feel.
Koen: An intro that I think speaks for itself and acts as an introduction to open the listener up to the concept of the Portal to Elfland.
Track 2: Portal to Elfland
CeltCast: The second track is also the title track for the album, ‘Portal to Elfland’. The first thing to notice in this song is the very heavy bass presence. The song continues to flow in this mystical atmosphere even through the chorus. There is a depth in this track that gives it an almost shamanistic feel. As a personal preference I would have liked to have heard some more high end in this song, but there’s no accounting for taste is there?
Koen: A song in which the listener experiences the journey of stepping through the portal. You can already hear the creatures that you can encounter, and through the sounds of a creaking ship and turning sails it creates the atmosphere of being on a journey and being carried on the currents through the portal. (Mental image: Think of the scene in Pirates of the Caribbean where the ship goes over the waterfall to Davy Jones’ Locker.)
Track 3: Twilight
CeltCast: Next up is the song ‘Twilight’. If I were to pick one word to describe it it would probably have to be ‘intriguing’. First there is the lightness of the flute, and then comes some deep percussive bass. This song slowly builds to completion from the start. Just over halfway in there is an energy boost that takes control of your body, almost forcing you to move.
Koen: We musically show the onset of the evening. The sky turning from blue to pink, to purple, to red. And the creatures that become active that time of day, along wit hall the mystique of the dark parts of the forest and the rest of the world.
Track 4: May’s Jig of Lunacy
CeltCast: And then comes ‘May’s Jig of Lunacy’. For a track with ‘jig’ in its name it starts of rather slow, but then comes the power! This is in my opinion the first track of the album that clearly shows a connection to the earlier work of Omnia. It’s very powerful, very musical. Heavy on the percussion, this is a very strong song!
Koen: A jig written for the creatures of the Fae world, that don’t like to play according to the rules as set by man. Something we often see in Balfolk dancing. It’s possible to dance a jig to it, but a true Balfolker, fixated on the rules of the dance, will go mad because the steps don’t fall the way he or she would want them to. Lunacy drives people crazy, think about witches that are strongest during a full moon and in the old days would have been labelled crazy and dangerous.
Track 5: Nymph Hunt
CeltCast: Whom among us doesn’t like the idea of a little ‘Nymph Hunt’? This fifth track of the album is also very reminiscent of early Omnia music. Closing your eyes, it’s easy to envision a hunt after beautiful Nymphs, that leads you across streams and through forests, with the Nymphs staying ahead of you, but only just…
Koen: An up-tempo song in which we act out the playfulness of being free in nature, especially the male and female aspects that are always teasing each other. You can see a mental image of a Nymph pretending that she doesn’t want to get caught by the horny Satyr that is chasing her.
Track 6: Torc
CeltCast: Track number six is called ‘Torc’. The intro of the song is very deep, almost as if it’s meant to bring you into a trance. Although the song does climb out if that depth the trance-like state continues. It feels as if this song, in particular the flute, is trying to tell a story. The transitions between energy levels within this song happen so naturally that you can hardly even notice your mood change. A very musical song.
Koen: A song in which we show our faith in totem animals. It starts with Omnia’s ‘Bran’ acting out a raven, but it quickly flows into the ‘Torc’ part that we wrote that symbolises the boar. I myself have already been on a journey with my totem animal the heron for years and the interconnection is becoming stronger every day.
Track 7: Aerie
CeltCast: Where ‘Torc’ starts off deep, the next track ‘Aerie’ starts off high, open, light. A feeling of magic and Fae, and a sense of urgency that this song contains an important story that needs to be told. Close your eyes and find out what that story is…
Koen: A musical representation of the story of Aerie, a character from the well know RPG game series Baldur’s Gate. A winged elf that is viciously robbed of her wings and now has to live among humans without the freedom she once knew and without ever seeing her kind in the high heavens again.
Track 8: Brave
CeltCast: The eighth song signals that we are already halfway through the album, unfortunately. The track isn’t only called ‘Brave’, it’s a song about being brave and finding your own way to change the world around you. This song has some very, very inspiring lyrics! A very powerful song, feeding the soul with feelings of strength and possibilities. I’m loving the positive vibe from this!
Koen: A song that speaks of the hard choice of staying true to ones self or to go with the flow with life and the people around you. The choice to conform yourself tot he more ‘normal’ people or to just be your happy self. In this song we encourage you to be brave, and despite the fact that it can be difficult at times, to stand strong and be yourself.
Track 9: Green Man
CeltCast: Next up is a track with a very familiar name, ‘Green Man’. An iconic figure in Celtic mythology, and very common in neo-pagan circles, the Green man has had many songs written about him, and this song is a worthy addition to that collection. The chants, with a very subtle harmony, create a very danceable ode to this figure of mythology.
Koen: A song in which we honour the Green Man. A leafy face in many shapes and sizes that symbolises the primordial power of nature and the changes that that power can affect.
Track 10: Lady of Laughter
CeltCast: ‘Lady of Laughter’ is, as the title suggests, a very cheerful song. Slightly more up-tempo than some other songs on this album it conjures up images of faeries in the forests and fields, laughing and dancing, lighting up their surroundings with mischief and happiness.
Koen: A female fae that Koen encountered, and with the inspiration that she gave him we wrote this song. In it a message to respect Nature and the Fae, because they can be unrelenting in their retribution.
Track 11: Land of Melancholy
CeltCast: Quite the opposite, the next song ‘Land of Melancholy’ is slower and more down to earth, though one shouldn’t be fooled by the title, the song certainly isn’t depressing in nature. It actually becomes rather powerful further on in the track. The song ends with quite the surprise on the lyrics. I did not expect that.
Koen: A fairytale written by Koen about two lovers who accidentally stumble into the Land of Melancholy and there fall under a spell of the rulers lament, because she has lost her lover. As long as they are enchanted they will dance on the fields of melancholy and will never return to what they left behind in the lands of man. Again a testament tot he unrelenting nature of the Fae.
Track 12: Gathering Mushrooms
CeltCast: Starting with some really nice percussion and the clear and crisp voice of Sara ‘Gathering Mushrooms’ is something different. The song has a familiar feel, even though I wouldn’t be able to pinpoint it. The combination of the strong and somewhat heavy percussion and the high and happy sounds of the vocals and flute make for a very interesting and entertaining song!
Koen: A traditional, arranged by Michael Philip McGlynn, known from Anuna. This song is about a bo that sees a beautiful young woman bent over to gather mushrooms early in the morning. He is very taken by her and this ends up in a very intimate loving ritual. (They both ‘sat down’ together, oh)
Track 13: Merry Making
CeltCast: ‘Merry Making’ starts with a similar bass sound to the percussion as ‘Gathering Mushrooms’, but the song picks up almost from the start with very enchanting flute play. Throughout the song there are several changes in rhythm that make this track very fun to listen to. A very merry track, leaving you wanting to join in the making…
Koen: A song written to capture the atmosphere of a flaming campfire, the bottles of mead and the nice music and people at a festival. Somewhere near the end a 7/8′ part, to show that sometimes alcohol can have a different, less happy effect. And also just because it can be nice to write some challenges into more straight folk music to keep the musicians in the crowd entertained.
Track 14: CPPS
CeltCast: The energy in ‘Crazy Pagan Party Song’ reminds me of the happy summer festival feeling of Virelai. Fast rhythms, fast melody, I’m definitely going to want to see this song played on a festival main-stage somewhere, with a few thousand people dancing in circles in front of it! It will wear the dancers out but will give a festival an amazing power-boost!
Koen: Well, this accurately represents the atmosphere of our rehearsals…
I usually choose one track from the album as a favourite, to give some indication, some context, as to how I listen to the album and what I’m looking for. For this album I would definitely have to go with ‘Twilight’. The variations in the song, the different levels, they all make the song very interesting and certainly entertaining!
One thing definitely worth pointing out is the artwork. The band logo, the antlers, the tree bark, everything on the cover comes together in a way that just calling it “artwork” isn’t enough. I would actually call it Art, with intentional capitalization! I do hope they will sell posters of this, because I really want my very own Portal to Elfland at home!
Something that is also very noteworthy about this album is the way in which it was recorded. As opposed to the regular way of going into a studio and recording each instrument separately SeeD had taken a very different approach. Their “studios” were the forest and in some cases a church, and they recorded the track in more of a “live” style, playing together as if they were on stage and in that way capturing the shared vibe on the album.
Overall this album is very interesting in several ways. First simply because of the music. It is music written and played out of a passion, and that is something that you can really hear in every track. The second reason that this album is interesting is because it show a lot of promise. Is it an immaculate album? No, I can’t say perfection has been accomplished. The recording and mixing of the album are good, yet not at par with the major studios in the world. I also believe that Koen’s singing will become more confident, when in time, through practice and experience, it will have improved. But you know what? Even though there are other minor things that I could point at, overall I really love the album! I think it is a gem, a must-have in the Dutch Paganfolk scene, and I am a very happy man for having a copy of it! I can’t wait to see their performance at Castlefest and I am very curious as to what the future has in store for SeeD!
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