Týr, The Lay of Thrym (Napalm Records, 2011)

Nearly a decade after the release of their first album, Týr have established themselves as a distinctive and creative "Viking metal" band while putting their native Faroe Islands on the musical map. This May, they released their sixth studio album The Lay of Thrym. All of Týr's albums deal in some way with the history and folklore of the Faroese people and their Viking ancestors, and the new album is certainly not an exception. The band members, led by singer/guitarist Heri Joensen, firmly believe that the old Norse myths and legends have lessons that the modern world can learn something from, and The Lay of Thrym follows previous albums like Ragnarok in placing a particular Nordic myth in a contemporary context. In this case, a story preserved since the 13th century in an Icelandic manuscript serves as the basis of a response by Týr to some unfortunate and wholly inaccurate accusations about the band's motivations.

Thrym, in the myth, is a giant who steals Thor's hammer and demands the hand of the goddess Freyja in marriage as ransom. In response, Thor goes to the giant's home dressed as Freyja, while Loki poses as a bridesmaid. Loki provides Thrym with explanations for his bride-to-be's most unladylike behavior, and the ruse is kept up long enough for Thor to get his hands on the hammer and set things right. On Týr's new album, Thrym represents political and moral opression, while Thor is the role model for doing whatever it takes to defeat tyranny in all its forms. While the need to choose freedom over dictatorship might seem like something that shouldn't need an album's worth of explanation, Týr and other Viking/pagan metal bands have had to defend themselves against criticisms from people who have equated their use of old Norse symbology with the Nazis' use of these symbols. Joensen addresses the issue directly on "Shadow of the Swastika," telling both neo-Nazis and those who think Týr endorse any sort of neo-Naziism to stay away and "kiss my Scandinavian ass."

Týr have often been described as "folk metal," and while the metal always outweighs the folk, the Nordic and Faroese folk influences give their sound a distinct and appealing flavor. The Lay of Thrym includes several songs partially or totally taken from traditional Danish and Faroese ballads, and Týr have always excelled at mixing the Medieval with the modern. For example, "Ellindur Bóndi Á Ja∂ri" tells the story of a farmer with thirty children, who comments in the king's hall that it's suitable for dancing. Like many traditional Faroese tunes, the song has a peculiar hitch in the rhythm, but Týr have no difficulty making that work in a heavy metal context. Returning to more contemporary influences, the band pay tribute to the late metal singer Ronnie James Dio on the two bonus tracks. Covering the Black Sabbath song "I" requires no small amount of attitude, but Týr pull it off quite well. "Stargazer," dating back to Dio's days with Rainbow, gets a rock solid treatment as well.

Týr's uniquely scholarly approach to heavy metal always makes their albums interesting and fun, and The Lay of Thrym is merely the latest in a lengthy catalog of albums worthy of a few listens even if you're not normally a fan of metal. They have a growing cult following in the U. S., and with plans in place for a musical based on their songs, they could be approaching a major breakthrough.

Overall grade: B+

reviewed by Scott

Týr found their way south of the Equator for this recent performance of "Shadow of the Swastika" in Brazil.

Top 10 CDs of 2009

So finally, after only a month of procrastination, I've reviewed all the albums I listened to in 2009 and can present to you my annual list of favorites.

10. Dan Auerbach, Keep it Hid: Some solid old-school rock from Ohio.

9. Captain Bogg & Salty, Emphatical Piratical: Aargh! Move up a few spots if you have kids. Move up a few more spots if your kids are into pirates.

8. The Soundtrack of Our Lives, Communion: If they put the best half of this on a single disc, it would have gotten an A.

7. Neko Case, Middle Cyclone: Still cryptic, still alluring, still a killer voice.

6. Týr, By the Light of the Northern Star: A fun mix of history, Norse legend, and hard rock.

5. White Rabbits, It's Frightening: Drum roll, please!

4. Kris Delmhorst, Shotgun Singer: A really artistic record that kept growing on me.

3. Rupa & The April Fishes, Este Mundo: Wildly eclectic, globally conscious, and fun.

2. Boot, Soot: The best Nordic CD since 2000.

1. Warsaw Village Band, Infinity: Superior musicianship combined with brazen experimentation.

I've discovered, among other things, that I really need to rework my grading system, especially where the B+ albums are concerned -- a few of them made the list, and a few might not have even deserved a B. Oh well, back to the drawing board in 2010...

Týr, By the Light of the Northern Star (Napalm Records, 2009)

The Faroese metal band Týr have been very busy lately. In 2008 their album Land came out hard on the heels of the American release of their previous album Ragnarok. Now, less than a year after the release of Land, the Faroese quartet consisting of Heri Joensen (guirar, vocals), Terji Skibenæs (guitar), Gunnar H. Thomsen (bass), and Kári Streymoy are back yet again with a new album called By the Light of the Northern Star. Fortunately, Týr are as interesting and as entertaining as they are prolific.

Understanding the concept behind any of the Týr albums I've listened to requires some background knowledge, and By the Light of the Northern Star is certainly no exception. As the year 1000 A.D. approached, all of continental Europe had converted to Christianity. The descendants of the Vikings had generally embraced the languages, cultures, and customs of the lands they had settled in, and even Norway itself, under king Olaf Tryggvason, had abandoned the pagan religion and traditions. Only in the remote Faroe Islands did Viking mythology and folklore continue to hold prominence. This would not be allowed to last, though. The Færeyinga Saga, dating back to the 13th century, tells the story of Sigmundur Bretisson, usually referred to simply as Sigmund, who was ordered by Olaf to make the Faroe Islands a Christian colony of the kingdom of Norway. As the saga tells it, and as Joensen sings it in the song "By the Sword in My Hand," Sigmund made converts the old fashioned way -- by beheading those who resisted him. (Evidently he had skimmed over the gospel verses about loving your enemies and being merciful to others.) I'm not sure how highly or lowly the Faroese people in general have regarded Sigmund over the centuries, but in the eyes of the Islands' modern-day poets and singers he is unquestionably the villain.

By the Light of the Northern Star is based on the Færeyinga Saga, as Týr pay tribute to what essentially was the last stand of the Vikings against the encroachment of a Christian religion that, with some justification, they did not find sympathetic. "Hold the Heathen Hammer High," the album's opening song, could not be more self-explanatory. (The video is even less subtle, with a scene that would cause a lot of controversy if the band were more widely known.) As with previous albums, Joensen alternates between singing in English and Faroese. While the new album is mostly in English, in contrast to Land, the album's best song is a metal adaptation of the traditional Faroese ballad of "Tróndur í Gøtu." Tróndur í Gøtu was Sigmund's first "convert," whose decision to hold onto his head did not make him suddenly friendly with Sigmund or prevent him from obtaining a small degree of revenge later. The song which bears his name has the kind of insidiously infectious chorus that will have you singing along even if you have no clue what you're saying. The rest of the album follows a similar pattern to Týr's previous efforts. Many of the melodies and guitar riffs are based on the rhythmically complex Faroese folk tunes, with influences from Ireland and Scandinavia added to the mix as well. Týr are a heavy metal band first and foremost, however, and there's no shortage of loud, muscular guitars and pounding drums.

Still, there is more common ground between the music of Týr and traditional Nordic folk music than might be evident at face value. The musical traditions of the Vikings and their descendants are intertwined with their legends and sagas, and much of the music consequently has a dark, primal element with which heavy metal is actually quite compatible. During one of my many happy visits to Minneapolis for the Nordic Roots Festival, I got to interview a number of my fellow attendees for a magazine article. One of the persons I spoke with said she put a high premium on acts that put her "on the tundra." I don't know if putting people on the tundra is necessarily what Týr are aiming for, but if you're looking to be thrust into the middle of a great Norse saga then By the Light of the Northern Star will do quite nicely. By the time the album reaches the song "Ride," you just might find yourself looking for a suit of chain mail and a trusty steed.

Overall grade: A-

reviewed by Scott

"Hold the Heathen Hammer High"

Top 10 CD's of 2008

Another year has come and gone, so once again it's time to go over my favorite CD's of the past year.

10. Danelia Cotton, Rare Child: A little funk, a little rock, and a powerful voice make for a winning formula.







9. Mudcrutch: Tom Petty breaks a bit from his usual formula, and the result is one of his strongest albums in quite some time.







8. La Rocca, OK Okay: These three Irishmen and one Englishman are superior pop craftsman that I expect to be hearing a lot from in the future.






7. Dion, Heroes: Legends of Early Guitar Rock: This is an absolute delight for people with even a moderate interest in 50's music.






6. Fleet Foxes: This highly touted debut justifies the hype.









5. Týr, Ragnarok: By combining heavy metal with folk music and a great concept, Týr have put the Faroe Islands on the musical map.






4. Anna Ternheim: Yes, the EP was better than the full-length album that followed. Ternheim just released an album of all-new material in Sweden in November, so look for it to reach these shores soon.




3. The Ditty Bops, Summer Rains: It may not be the list-topper that Moon Over the Freeway was two years ago, but it's still another solid effort from the charmingly subversive duo.





2. Sam Phillips, Don't Do Anything: Phillips has always been at her best when she's been at her most cathartic, and there's plenty of catharsis to go around on this record.





1. The Born Again Floozies, Street Music: Stubborn defiance meets great songwriting. Fly your freak flag high!







reviewed by Scott

Týr, Land (Napalm Records, 2008)

A couple of months ago I reviewed the 2006 album Ragnarok, by the band Týr. Hailing from the remote Faroe Islands in the northeastern corner of the Atlantic Ocean, Heri Joensen (guitar and vocals), Terji Skibenæs (guitar), Gunnar H. Thomsen (bass), and Kári Streymoy (drums) combine heavy metal with the Celtic and Nordic musical traditions that shaped the culture of their homelands. The band just released a new album called Land. Like Ragnarok, Land is a concept album; the songs this time around relate tales of voyages across the sea.

Land begins rather ominously, with a Faroese lyric composed by the Islands' most famous poet, J. H. O. Djurhuus. The poem is actually a spell, cast by the sorceror Trond to protect the Faroe Islands and their pagan culture against Norse invaders intent on Christianizing the Islands. The leader of this force, a Faroese native named Sigmund, is an actual historical figure. The poem is recited over a traditional Faroese tune played not by the band, but by a string quartet. Faroese tunes like this one mash the Nordic and Celtic influences together, resulting in a style that sounds somewhat familiar yet is very complex rhythmically. The band kicks in after the poem is done, turning the Faroese melody into a heavy metal riff that becomes the dominant musical theme on the album.

The subsequent songs on the album follow the lead of the opening piece. Voyagers from places like Scotland and Norway and from many different historical moments cross paths with the Faroese people. Sometimes the voyages involve a confrontation, and sometimes the voyages involve an escape from hardship and the quest for a new life elsewhere. More songs on Land are sung in Faroese than there were on Ragnarok, which was sung mostly in English. The lyrics borrow heavily from Faroese poems and legends, and also from a Norwegian poem written by Edvard Storm in the eighteenth century called "Sinklars Vísa (The Ballad of Sinclair)." Featuring some excellent group vocals, this particular song recalls the brutal ambush of an army of Scottish mercenaries who were hired by the Danes to fight the Norwegians. The two songs mostly in English, "Ocean" and "Land," are both epic pieces lasting over ten minutes.

While I don't think the underlying concept was quite as effective on Land as it was on Ragnarok, the album is still solid. Joensen's vocals are strong throughout, and the group harmonies were particularly well done. Týr's musical prowess should not be overlooked, either. Coupling the complexities of their homeland's traditional music with the volume and speed you'd expect from a heavy metal record is not an easy task. Týr are one of the most consistently fascinating bands that I'm aware of, and I look forward to hearing what they do next.

Land also contains a concert DVD filmed at a performance in 2007. The vocals weren't quite as tight live as they were on record, but otherwise the DVD is a fun bonus.

Overall grade: B+

reviewed by Scott

"Sinklars Visa"

Týr, Ragnarok (Napalm Records, 2006)

Originally settled by Vikings, the Faroe Islands are located roughly halfway between Iceland and the northern tip of Scotland. The islands, although mostly autonomous, are still formally considered part of the Kingdom of Denmark. Culturally speaking, the Faroese people are essentially Nordic, and their language is very similar to Norwegian and Danish. The nearest land to the Faroe Islands are the Shetland Islands, though, and as a result there is a bit of a Celtic imprint on the Faroese culture and traditions as well. The economy revolves around fishing, but recently the islands have begun exporting something else entirely -- heavy metal with pagan undertones, most notably in the form of a quartet called Týr.

Týr are led by Heri Joensen on vocals and guitar. Terji Skibenæs provides a second lead guitar, Gunnar H. Thomsen plays bass, and Kári Streymoy does the drumming. They specialize in making concept albums based on Nordic mythology, and their third album Ragnarok came out in 2006. In Norse legend, Ragnarok is an apocalyptic battle that concludes a cascading civil war that involves all the Norse gods and humanity. No gods survive, and only two humans are left to start over. It's a bleak topic to be sure, but this is heavy metal after all, and Týr presents the story in a way that gives the myths some modern relevance.

Ragnarok the album begins with an overture, followed by an opening scene featuring the most famous of the Norse gods. Thor captures somebody who had snuck in and cut off his wife's hair, but the intruder spares himself by offering Thor something he can't refuse. "Out of the fire of freedom, and out of the forge of dwarves, to hold in your hand now and forever more, I give you the hammer of Thor." As any veteran player of Dungeons & Dragons can tell you, you never thumb your nose at somebody offering you a weapon of the finest dwarven craftsmanship. And when the presentation of said weapon is accompanied by music that rocks, well hey, that's an added bonus. Predictably, things spiral out of control from there. Deceit leads to treachery, which leads to betrayal, which leads to revenge. The gods stop getting along, and willingly or not, all humanity becomes entangled in the conflict. The people persevere, knowing that they have to keep fighting in order to save something in the end, but also fully cognizant that "this war will throw us corpses in a heap."

Týr describe their music as "folk metal," and while the metal clearly dominates the folk, the traditional musical elements that do get incorporated into Ragnarok help to make the album very interesting and compelling. On "Wings of Time," a Faroese chant from a field recording is turned into a fiercely potent chorus. "Lord of Lies" is introduced with a Celtic-flavored traditional Faroese tune played by a folk band -- and then the melody becomes the guitar riff that kicks in the song. It sounds like a very strange combination, yet Tyr make it work.

The other compelling aspect of Ragnarok is that it is ultimately an anti-war album. For all the depictions of warriors and battles in the songs, Týr present the myth in a way that doesn't glorify war at all. Rather, the band combines respect and honor for the warriors with a healthy contempt for those whose deceit put them into their desperate predicament. The album's payoff comes in the epilogue "Valkyries Flight/Valhalla." An inspired conversion of an Irish reel into a metal riff leads into an angry dismissal of people who "pretend they have the answers to all. In awe they'll defend fictional visions of mist. I never believed in their stories, I never saw sense in their speech. All they ever taught me was hatred."

I can't really say I'm much of a metal fan, and the first time I played Ragnarok I didn't quite know what to make of it. By the third or fourth listen, though, I was totally digging it. People who simply don't like any heavy metal won't embrace Týr, and you could certainly argue that some of the album is hokey in a Spinal Tap "Stonehenge" sort of way. But there's something to be said for any record that rocks hard and has depth at the same time. And besides, if you find the combination of epic mythology and epic heavy metal in any way appealing, Ragnarok might be just the kind of hokey you're looking for. Týr already has a brand new album out called Land, so I'm going to try to review more from these guys soon.

Overall grade: A-

reviewed by Scott

Heri Joensen leads Týr into battle