#iver sandøy

[nofatclips]

Lost by Crippled Black Phoenix (featuring Vincent Cavanagh) from the album Ellengæst

[musicarenagh]

A Lightning Bolt of Hard Rock: ‘Weeping Gods’ by Electric High From Bergen, Norway, Electric High unleashes "Weeping Gods," a sonic powerhouse that catapults listeners into a thrilling, raw and captivating whirlwind. This latest single from their debut album "Colorful White Lies" showcases mastery of alternative and hard rock, infused with ominous themes challenging religious absolution. "Weeping Gods" boasts robust production, courtesy of Daniel Birkeland and Iver Sandøy. The track's intricate soundscape lets each instrument shine: haunting steel guitar, grinding basslines and crashing drums blend for a stormy, gripping listen. Dual lead vocalists create emotional tension, shifting from whispers to forceful delivery. checkout: https://www.musicarenagh.com/electric-high-takes-you-to-the-7-wonders/ Inspired by Rival Sons and Royal Blood, Electric High injects unpredictable energy. Lyrics explore sin, confession and redemption, posing profound questions. "I drank the tears of the weeping gods" probes the freedom from guilt through confession. Electric High combines stoner heaviness with melodic surprises. Dirty guitar tones, aggressive basslines and hypnotic vocal melodies craft a fever-dream-like experience. Production maintains edgy rawness while highlighting nuances. In "Weeping Gods," Electric High revitalizes hard rock with heavy riffs, philosophical depth and unforgettable vocals. A testament to their innovative spirit, this single promises an exhilarating ride. Watch Weeping Gods https://youtu.be/uzX2BMqFZZo Follow Electric High on – Facebook Twitter Spotify Soundcloud Bandcamp Youtube Instagram

[ghostcultmagazine]

Enslaved Readies New Album “Utgard”, Reveals Artwork

Progressive Metal legends Enslaved will release their new album, Utgard, in the fall via Nuclear Blast. The disc was tracked in Bergen in Duper Studio and next door at drummer Iver Sandøy’s Solslottet Studio before it was mixed at Fascination Street in Örebro, Sweden with Jens Bogren.The band made a post to Instagram with the artwork. The filmed a new music video at the South Coast of Iceland…

[caseyloseth]

Einar Selvik from Festspillene i Bergen on Vimeo.

A Nordic national treasure with a soundscape that spans centuries.

Einar Selvik is a Norwegian composer and musician. He is also the founding figure behind the music constellation Wardruna; a project focusing on musical interpretations of different Old Norse and Nordic traditions.

Thanks to extensive research and use of a wide range of old Nordic instruments and lyrics placed in a contemporary soundscape, Selvik has moved the boundaries of musical genres and given a new voice to the thoughts and tools of the past.

Wardruna has gained worldwide recognition for their innovative musical expression, and Selvik has even provided music for the popular HBO series Vikings. Together with Ivar Bjørnson, Selvik was also the architect behind the critically acclaimed Bergen International Festival project Nordvegen which spanned several years.

During this year's festival, Selvik takes us on a musical journey that is a little different to Wardruna's normally massive soundscape. Instead, he presents a more stripped-down and direct expression where vocal use, lyrics and instruments such as kraviklyre, the oldest known string instrument in Norway, jouhikko, a two- or three-stringed bowed lyre traditionally used in Finland and in Karelia, Russia and buckshorn, also known as billy goat horn, all play key roles.

CONTRIBUTORS Einar Selvik vocals, kravik lyre, talharpa, sotharpa Ivar Bjørnson guitar Iver Sandøy drums, percussion, vocals Silje Solberg fiddle, vocals Håkon Vinje piano, vocals Lindy-Fay Hella vocals

Sponsor: DNB

This service is offered by the Bergen International Festival. The music is reproduced with permission by TONO (tono.no). Unauthorized performance or copying is illegal.

[planetrock-ru]

ENSLAVED выпустили новый клип The River's Mouth с предстоящего альбома «E»

[m3t4ln3rd]

Enslaved to release Roadburn Live 2xLP for Record Store Day, premiere "Death In The Eyes Of Dawn" video

Official press release: Roadburn Live is Enslaved‘s first official live album, a split release between Roadburn Records and ByNorse Music. The album was recorded during one of band’s headlining shows at the renowned Roadburn Festival 2015, an edition curated by Enslaved‘s guitar player Ivar Bjørnson. Walter Hoeijmakers, Roadburn‘s Artistic Director comments on the release: “It’s no secret that…

[aurora-daily]

Helvegen is a song about death, dying and remembering those who have passed. About crossing over and about letting go. It is a song about searching for lost songs and old traditions. Filmed by Broadstone Film at Bergenhus Fortress in Bergen, Norway on August 22 2018. Sound recorded by Stein David Baastad. Mixed by Iver Sandøy/Solslottet Studio.

[vecna]

H e l v e g e n (here featuring AURORA) is a song about death, dying and remembering those who have passed. About crossing over and about letting go. It is a song about searching for lost songs and old traditions.

Filmed by Broadstone Film at Bergenhus Fortress in Bergen, Norway on August 22 2018. Sound recorded by Stein David Baastad. Mixed by Iver Sandøy/Solslottet Studio.

Oh man, this has always been my favorite Wardruna song, but it’s so much better with the addition of Aurora’s haunting vocals.

[metalindex-hu]

Enslaved: Utgard (2020)

Enslaved: Utgard (2020) - https://metalindex.hu/2020/10/23/enslaved-utgard-2020-2/ -

Elöljáróban – mintegy lelőve a poént – annyit mondanék, hogy a lemezelőzetes „beetető“ nóták (Jettegryta, Homebound) messze az anyag legjobban sikerült darabjai. Azok alapján egy kicsit izgalmasabb műre számítottam, de a teljes korong megismerése után úgy érzem – nem elvitatva a lemez érdemeit –, hogy nem készült különösebb kuriózum. Na, most, hogy mindenki kedvét jól elvettem tőle (azért remélem, nem), vágjunk ösvényt a leigázottak erdejében, és bogozzuk ki, mit is rejteget számunkra az album!

A zenekar 1991-ben alakult a norvégiai Haugesund városában. Az alapító tagok, akik még ma is aktívan részt vesznek a banda életében, Ivar Bjørnson gitáros és Grutle Kjellson énekes-bőgős. Meglehetősen fiatalon kezdték az ipart, Ivar még csak 13 (!) éves volt akkor. Első nagylemezük 1994-ben jött ki, Vikingligr Veldi címmel. Érdekessége, hogy Euronymous kiadójánál jelent meg, a cég utolsó előtti kiadványa volt a balsorsú tulajdonos halála után.

A bemutatkozás erősre sikeredett, máig büszkén vállalható, nagyszerű viking metal album született. A szövegek izlandi és ó-norvég nyelven íródtak, és a skandináv mitológia rejtelmeit boncolgatják. Ez a témaválasztás mindmáig jellemző rájuk, bár manapság már inkább angol nyelven adják elő dalaikat. Első két lemezükön Trym Torson dobossal dolgoztak, aki később az Emperor és a Zyklon tagja is lett. S ha már a másodállásokról beszélünk, meg kell említenünk, hogy Ivar szintetizátorosként szerepelt a Borknagar első három lemezén (amely zenekarban már szinte mindenki megfordult, aki számít a norvég színtéren).

Az Enslaved 15 nagylemez birtokosa, nagyjából két-háromévi rendszerességgel ontja magából az új alkotásokat. 1997-es, Eld című korongjukon jelent meg először a tiszta ének, a 2000-es Mardraum-on érte el őket az előbb-utóbb minden norvég blackert elérő progresszivitás, 2001-es, Monumension című lemezükön pedig az angol nyelvű szövegek is megérkeztek, és azzal együtt már meglehetősen elsodródtak az alternativitás irányába.

Jelen lemezt a következő tagokkal kiegészülve vették fel: Arve Isdal gitáros, Håkon Vinje szintis és Iver Sandøy dobos.

A mű a Fires in the Dark tétellel indít, meglehetősen epikusan, kórusokkal átszőve. Kissé vontatott, intró-szerű hangulata van, de jól felvezeti a lemez talán legjobb dalát, a korábban már emlegetett Jettegryta-t. Ez egy nagyon jól eltalált, középtempós, sodró lendületű nóta, erőteljes Abbath-os áthallásokkal és persze az elmaradhatatlan progresszív elemekkel fűszerezve. Szerintem ez a dal reprezentálja a legjobban a jelenkori Enslaved munkásságát. A másik videós szerzemény, a Homebound a negyedik helyre került. Szintén egy erős bástyája a lemeznek: hangulatos, magával ragadó, a korong metalosabb vonalát erősíti.

A srácok jól elosztották a tételeket, hogy ne legyen unalmas az összkép. Durvább és nem annyira kemény etűdök váltogatják egymást. Az ötödik helyre az album címadója, az Utgard került, ami tulajdonképpen egy közel kétperces próza, az egyetlen norvég nyelvű darab, amit a szintén klipes Urjotun követ. Na, ez egy elég érdekes pontja a lemeznek: egy kicsit szinti-popos, egy kicsit alter, egy kicsit a fene tudja mi. Megfoghatatlan. Ezt nevezik művészetnek, és talán ez a dal az, ami egyedivé teszi és kiemeli őket a zenék tengeréből.

A záró tétel a Distant Seasons, ami számomra az album leguncsibb szerzeménye. Én nem raktam volna lezárásnak, bár levezetésnek elmegy, de így elmarad a csattanó…

Utgard az óriások földje az északi mitológiában. Az Enslaved pedig egy óriás a zenék földjén. A csapat megmutatta, hogy mire képes 2020-ban, és úgy gondolom, az eredménnyel mindenki elégedett lehet. Bár mint az elején írtam, az előzetes dalok alapján egy erősebb lemezre számítottam, de azért ez egy jó anyag lett a maga háromnegyed órás hosszával. Egy kicsit barátkozni kell vele, de első hallgatásra működő elemek is vannak benne. Kilenc tételen keresztül próbál győzködni, amiből legalább öt biztosan alkalmas arra, hogy újra meghallgassuk a lemezt. Ajánlom mindenkinek, kicsiknek és nagyoknak. A pontszámból viszont valamennyit le kellett satírozzak, a kicsit unalmasabb részek és az előzetes erősebb ígéretek miatt csak négyest adok rá.

Laq

[nofatclips]

House of Fools by Crippled Black Phoenix featuring Vincent Cavanagh

[thisisheavynews]

Gaahl: The evolution of a black metal icon

Bergen’s Bryggen district is inclined to fireside. The wood buildings that overlook the docks burned down in 1702 and suffered additional harm over time, together with  a partial incineration in 1955. The cycle of destruction and rebirth can unearth treasures, nevertheless. 

During the final reconstruction, a set of runic inscriptions relationship as much as the medieval age was found, arguably an important such discover within the 20th century and a continuity uncovered by upheaval.

Today, Bryggen is a vacationer space; 300 metres alongside the docks, the imposing Bergenhus fortress overlooks numerous cruise and cargo ships, whereas eating places and memento outlets are set into mustard, white and purple interval constructions that, like our personal Tudor buildings, charmingly can’t muster a proper angle between them.

It’s not an space you’d anticipate finding a hub of the black metal scene. Walk up the wood steps beside Bryggen 37 and on the second ground you’ll discover the Nidhogg tattoo studio, co-owned by Jannicke-Wiese Hansen, the artist whose emblem designs and art work for Burzum’s and Satyricon’s first releases – in direct distinction to her character – laid down the groundwork for the motion’s cheerless, foreboding aesthetic. Directly under is Galleri Fjalar. 

Run by former Trelldom (on maintain), Gorgoroth and God Seed vocalist Kristian ‘Gaahl’ Espedal, one of essentially the most iconic figures to have emerged from the acute metal underground, it exists to showcase his personal work, and people of different artists he deems worthy. 

Ranged round its wood-panelled house is at the moment his personal set up: a charcoal drawing of a younger bare man, reproduced with multi-coloured backgrounds. Occupying his personal house – as he does in any setting – is Gaahl himself, sitting quietly together with his long-term associate Robin standing close by.

“I’ve been painting even before I was making music,” he says of his lately revealed self-discipline. “I’m self-taught, and I’m  a child when it comes to art. If I knew why  I did it, I wouldn’t do it.”

If you’ve seen Gaahl onstage, with these piercingly expressive blue eyes staring out from behind streaks of corpsepaint, or witnessed that scene in Metal: A Headbanger’s Journey (“What are the primary ideas that fuel Gorgoroth’s music?” 

A pause that might swallow a civilisation. “Satan.”), you’ll remember of his otherworldly stage of presence. In individual, that presence remains to be there, as  if he’s observing from some vantage level unattainable by the remainder of us, however he’s hotter and extra accommodating than you would possibly anticipate. 

His dry sense of humour is a fascinating mediator for a person who, regardless of the fascination he attracts – fuelled  by incarcerations, sexual orientation, court docket battles with Gorgoroth founder Infernus, accusations of spiritual offence involving sheep heads and bare crucified fashions, and all-round enigmatic charisma – stays uncomfortable with the limelight.

“There have been a couple of strange reactions when people have come into the gallery,” he says of the metal-loving portion of his clientele. “Some people come to see if I’m there. Some have come in not knowing that this is run by me. So there have been a few quivering legs. It’s something I never get used to. It is strange and remains strange.”

On the final album, I overfed myself with loss of life power

Gaahl

That discomfort has typically prolonged to his personal musical autos, and a willingness to allow them to collapse and begin afresh as quickly as he feels the artistic essence changing into stale. After he and Gorgoroth bassist King misplaced their authorized combat for the band title, Gaahl claimed that was at all times the purpose, to let his affiliation with it die. 

After the protracted start of the 2012 God Seed album, I Begin – his last undertaking with King – he appeared disillusioned with the entire course of  of making music, and his relationship with  the metal scene itself, breaking apart that band earlier than one other album might be made.

“I felt that was going to be the last album in the extreme metal mould,” he recollects. “It had taken certain turns away from that, but I felt that I’d overfed myself with death energy.”

‘Energy’ is a phrase you’ll typically hear from Gaahl. Not in any PMA, get-up-and-go sense, clearly, however as fluid forces past oneself to be negotiated with, channelled, invited in. Energy can be at all times being transferred.

When God Seed – or extra crucially, Gaahl’s working relationship with King – dissolved, Gaahls Wyrd was already taking form, the brand new band’s first efficiency at Bergen’s Blekkmetal pageant happening solely three months after God Seed’s final. 

Playing songs from throughout Gaahl’s musical historical past, it allowed him to faucet into his previous on his personal phrases, and to offer him the house to determine the place he needed to go subsequent.

“It was more like setting a way of thinking,” Gaahl explains. “I didn’t know on the time if Gaahls Wyrd would turn into a band that may document. I needed to anticipate it to mature to ensure it might be the right line-up and perceive how the artistic course of would work. 

So it was small steps, however the band itself will get alongside. There is a actually gentle power between us. We share the enjoyment, and I feel you possibly can hear that within the music as nicely, that we truly take pleasure in taking part in. I feel there have been too many conflict songs within the outdated days.”

(Image credit score: Ester Segarra )

If your impressions of Gaahls Wyrd have been drawn from the retrospective but totally enthralling reside reveals, the band’s debut album, GastiR – Ghosts Invited, will demand a few psychological readjustments. For a begin, it’s not black metal. There’s not a single hi-tremolo riff, not one basic Gaahl shriek. 

But the vocal vary that made itself obvious on I Begin has expanded now into a mind-boggling array of completely different sides, from brooding rasp by way of to commanding chant and female whisper – and that’s simply the opening monitor, Ek Erilar. 

Elsewhere, you’ll hear bellicose, bug-eyed incantations, deep portentous baritones, flinty, seer-like reveries, and on the mesmerising, transformational journey that  is Carving The Voices, imperious… crooning?

“I didn’t know what crooning was until Iver [Sandøy, producer and Enslaved drummer] explained it to me,” Gaahl laughs. “He played me some later works by Scott Walker afterwards as a reference point.”

The late-60s pop idol turned avant-garde hero may not have been an inspiration for GastiR – Ghosts Invited, however a host of different artists had been, David Bowie, Judas Priest, Thin Lizzy and numerous thrash pioneers amongst them, all contributing to the album’s erratic, multi-tonal if completely immersive complete. It’s not in Gaahl’s nature to merely soak up influences unfiltered. 

Instead, they’re parts of the album’s broader theme. GastiR – Ghosts Invited is largely about reminiscences, about giving them voice and creating dialogues between the traces  left by previous expertise – a weaving of residues into a map of oneself. Where  do these reminiscences come from?

“It’s me, me, me, ha ha ha! And a couple  of other mes,” Gaahl laughs. “But additionally small homages to characters. Both non-existent  and those who have existed, and to entities that aren’t essentially info however simply concepts.  It’s a lot of homages and tiny drops, simply private associations. The subject is ghosts invited, however ghosts are a lot greater than  simply ghosts. Your childhood is a ghost. Your nice grandparents are ghosts.

“They’re energies,” he continues. “I’m making an attempt to make sense of them or paint a full image within the completely different songs, and subsequently  I act out these completely different characters, so I’ve to behave out completely different energies. It might be something, from the younger and outdated speaking in the identical tune, singing the identical phrases. 

But the best way one sings a single phrase or a lyric is a component of the entire course of. If individuals catch the power,  I don’t know, however for me I may be some type of vessel, though it’s nonetheless a dialogue with myself, to color a full image for myself.”

There’s one lyric on Carving The Voices that appears significantly telling: ‘Carving the voices into the speech / Carving the voices into the mind / Carving the voices into the self.’ It appears to chart a journey down into the separate strata of the psyche, a notion Gaahl is prepared to concede.

“That’s one of the matters I’ve at all times centered on, and I feel the explanation why I’m so centered on the unconscious is as a result of that’s the place you might be most conscious. It has to do with honesty or purity, it’s this untainted type of power. 

“Even although it sounds a bit insane, the attention  of the unconscious is one of the best gateway for me to get a full understanding. It’s the whispers inside your self, that is the core of the self. So I feel that’s the extent I’ve at all times been working with, significantly with Trelldom. On this album, it’s informed in a very completely different method, though it’s the identical course of.”

(Image credit score: Ester Segarra )

For Gaahl, that course of has by no means been a straightforward one. For I Begin, the vocals took one of the best half of a yr to document, whereas Gorgoroth’s 2003 album, Twilight Of The Idols, had its personal sense of tough circumstances  – on the time it was made, Gaahl was in jail for assault, self-defence as he’s at all times put it.

“I had leave to do the vocals,” says Gaahl, “but I didn’t do a single thing on that leave.  It took a long time before I managed to solve it, but I had to wait until I’d finished my sentence, because when I tried to do it during the leave, nothing approached. There was nothing that  I wanted to be told, basically.”

He served additional jail time in 2004, once more resulting from assault. Did the time in jail alter his perspective on the world round him?

“I probably got more patient with humanity,” he admits. “Socialising is not a natural state for me, so I think I got better at being patient with people, or being better at socialising in general, rather than just being grumpy.”

That’s not a regular response you’d anticipate to get from a jail time period.

“No. We work in mysterious ways, he he he!”

If GastiR – Ghosts Invited was a extra expeditious endeavor, that doesn’t imply that discovering the best resonances, and with the ability to open your self to these voices got here with out a massive ingredient of soul-searching.

“But when I hear a voice in my head,” he explains, “I know I can do it, it’s just that  I might have to sit down and figure out how  to manage to open up so that I actually can execute it. One needs to talk to the microphone a bit before to accept the presences.”

GastiR – Ghosts Invited not solely marks one other evolutionary step for Gaahl, it’s his most private work up to now – a multi-layered journey into self-awareness. It’s not a straightforward endeavor, however for him, what have been the advantages from this stage of each introspection and opening up?

“Growth,” is the reply. “And change. I don’t feel the need to understand things, but for me it’s more important to move. Move, change and exist, within the voice of existence.”

Does he really feel, with this album, that he’s created a map to take him additional?

“A map of parts of me, maybe. There’s a lot more to come. So yes, it’s a very incomplete map, but I’ve covered a region, ha ha ha!”

from Heavy News https://thisisheavynews.com/gaahl-the-evolution-of-a-black-metal-icon/

[nuclearblastuk]

ENSLAVED’S GRUTLE KJELLSON AND IVAR BJØRNSON DISCUSS THE RECORDING PROCESS OF NEW ALBUM 'E'

On October 13th, true avant-garde Norwegians ENSLAVED will unleash their highly anticipated studio album E and herald a new era of their career. The band’s 14th opus melds mesmerising prog with jarring extreme metal and epic musical landscapes; and today, the band unveils the third album trailer. Watch as guitarist and songwriter Ivar Bjørnson guides you through the recording studio where E was created, while singer and bassist Grutle Kjellson explains the band’s working relationship with co-producer Iver Sandøy:  https://youtu.be/uYTMZVWMeNw PRE-ORDER E ON VARIOUS LIMITED EDITION AND STANDARD FORMATS: Limited Edition Digipack CD/Tote Bag bundle or Limited Brown or NB Anniversary Green Etched Vinyl from the Nuclear Blast store:  http://bit.ly/EnslavedShop Ltd Digipack CD or Gatefold Double Etched Vinyl (inc signed insert) from Recordstore.co.uk:  http://bit.ly/RSEnslaved Digital Album from iTunes:  http://nblast.de/EnslavedEIT Official Merchandise from the Nuclear Blast Store:  http://bit.ly/EnslavedShop The track list for the new album racks up as follows: 01. Storm Son (10:54) 02. The River’s Mouth (5:12) 03. Sacred Horse (8:12) 04. Axis Of The Worlds (7:49) 05. Feathers Of Eolh (8:06) 06. Hiindsiight (9:32) Bonus tracks available on the digipak: 07. Djupet (7:39) 08. What Else Is There? (Röyksopp cover) (4:44) Witness ENSLAVED perform their new material live for the first time when they support Opeth on their forthcoming UK tour: 15.11   UK       Manchester - o2 Ritz 16.11   UK       Glasgow - Barrowlands 17.11.  UK       Belfast - The Limelight 1 18.11.  IRL       Dublin - The Academy 19.11.  UK       Nottingham - Rock City 21.11   UK       Bristol - o2 Academy 22.11   UK       Birmingham - o2 Institute The band will also be performing a special headline set in London: 24.11.  UK       London - Islington Assembly Hall Buy tickets for all of the above dates, here:  enslaved.no/tour Watch the official music video for the 10 minute long single, 'Storm Son':  https://youtu.be/GRlhMyXmTYQ "'Storm Son' deals with the duality of man and nature, how important and basic that relationship is", explains songwriter and guitarist Ivar. "Everything we do and create are imitations of nature; as we evolved from nature, that is how it must be – yet modern man thinks he and she is independent of nature, that we somehow are so superior that we do not have to take nature into consideration other than as a backdrop for shitty movies. Or festivals. Losing touch with nature is basically to lose touch with being human." www.enslaved.no | www.facebook.com/enslaved | www.nuclearblast.de/enslaved

[nuclearblastusa]

View this post on Instagram

A post shared by Nuclear Blast Records (@nuclearblastrecords)

@EnslavedOfficial unveil their third album trailer in which Ivar Bjørnson walks you through the recording studio where "E" was created, while @KGrutle explains the band's working relationship with co-producer and long-time friend, Iver Sandøy. Full video at fb.com/enslaved. New album, E, out October 13th and is available at nuclearblast.com/enslaved-e. #Enslaved #EnslavedE #NuclearBlast #Metal #ExtremeMetal #ProgressiveMetal #ProgressiveExtremeMetal #ProgressiveBlackMetal #MelodicMetal #ShoegazeMetal #Shoegaze #AmbientMetal

[planetrock-ru]

ENSLAVED выпустили четвертый трейлер нового альбома «E»

[ghostcultmagazine]

Wardruna Shares Live Performance Of “Helvegen” Live In An Old Fortress

Norse-inspired music legends Wardruna have shared a live video performance of the song 'Helvegen', featuring Aurora on guest vocals. The clip was filmed by Broadstone Film at Bergenhus Fortress in Bergen, Norway on August 22nd, 2018. Sound for the performance was recorded by Stein David Baastad. Mixed by Iver Sandøy/Solslottet Studio who has worked with Wardruna and Enslaved members on their many albums and side projects. Wardruna recently completed their second tour of the US. Wardruna is releasing an acoustic album next month Skald which will also feature some of Einar Selvik's solo material.  https://youtu.be/FnkTuHP9q3o Watch on Vimeo: https://vimeo.com/294135990 https://www.facebook.com/wardruna/videos/469889453517798/   New acoustic Wardruna album ‘Skald’ featuring Einar Selvik’s solo material will be released on November 23rd. The album will be available in CD, vinyl and digital formats. Pre-order here: Wardruna EU based store: https://wardruna.aisamerch.de/shop-en Wardruna US based store: https://wardruna.aisamerch.com/pre-orders Digital: http://radi.al/WardrunaSkald Check out Ghost Cult’s review and photos of the previous east coast tour: Check out our interview with Einar Selvik:    Read the full article