Album Review: Skáld – Ørlǫg (Napalm Records)

Skáld, the neofolk icons, invite listeners into times long gone but not forgotten. Their brand-new album, ‘Ørlǫg’, is out September 25th, 2026, via Napalm Records.

It is a challenge, a welcome one, but a challenge nonetheless to break down what Skáld create here. On the one hand there is a simplicity to their Nord-inspired folk and atmospheric sound that speaks to the soul resulting in something quite accessible. On the other hand, the experience is so layered, the arrangements are so varied, and the expansive use of instruments make it a studious listen.

There is no denying that you have to have a taste for this kind of music to fully enjoy it, but there’s also no denying that Skáld are one of the strongest to do it. Not only creating something so immersive, but creating something that is clever, interesting, catchy, and respectful. As always, this album is a wholly unique experience and, provided you allow it, an experience that will stay with you for a long time afterwards.

Beginning in dreamy fashion, Draumakona sets the standard for the album. Delivering a soft, but haunting, combination of shamanic melody and power that has impressive infectious qualities. One of the most amazing aspects of the album is how the three lead vocalists share space and complement each other and this opener showcases the balance perfectly.

Whereas female vocals led the charge with the opener, it’s male vocals that drive the rhythmic pace of Myrkviðr forward. A chest thumping listen and further proof of how effortlessly Skáld infuse atmosphere into their soundscapes.

One of my personal favourite tracks is Ratatoskr. Partially because of its mood, partially because of the potency of the female vocals, but mainly because of the throat singing. It was the moment I felt myself truly transported through time and absorbed by the album.

It’s far from alone in that regard either as the pacy melodies of Dǫkksalir, the dramatic layered voices of Útgarðr (and its incredible ending), and the calmness of Ek skal riða kept me well and truly rooted in this world and Skáld’s storytelling. The latter is quite an elaborate experience with many exciting twists and turns along the way.

The exploration of Norse mythology reaches Asgardian heights with Himinbjǫrg. A track paying tribute to Heimdall as he watches the gods where the burning rainbow bridge Bifröst meets heaven. A peppy exploration of folk melody through various unique instruments. Whereas Heiemo og Nykkjen brings us crashing back to Earth, specifically Norway. Or the Norway of old, as things take on a medieval form, and Skáld scale the instrumental side back in favour of strong, harmonised vocals.

Perhaps one of the more unique tracks is the penultimate track, Veit barnit. At less than two minutes long, it is notably shorter than any other track, but it is the child’s voice that sits alongside humming folk harmonies that makes it stand out.

In contrast, we have the dark to the former’s light with the finale of Eldr ok íss. Fire and ice, Skáld warm the soul with a layer of inimitable folk melodies but freeze the mind with thick layers of gloomy atmosphere. It is one of the more tense experiences, but a very effective closer.

Skáld are one of the finest to make music like this and do so in a way that doesn’t just capture the imagination of the few, but rather the many. Ørlǫg is special, but you’d struggle to find a release from this band that isn’t.

Skáld – Ørlǫg Track Listing:

1. Draumakona
2. Myrkviðr
3. Ratatoskr
4. Dǫkksalir
5. Útgarðr
6. Ek skal riða
7. Himinbjǫrg
8. Heiemo og Nykkjen
9. Veit barnit
10. Eldr ok íss

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