When Viking metal met a full orchestra and I blacked out from goosebumps.
120 days till W:O:A 2023.
After enjoying Ensiferum far more than expected, I decided to linger in folk metal territory a little longer—and that’s when I wandered straight into the arms of Iceland’s finest: Skálmöld.
Formed in 2009 by Snæbjörn Ragnarsson (bass, vocals) and Björgvin Sigurðsson (guitar, vocals), the band quickly pulled together a full line-up of Icelandic music veterans: Baldur Ragnarsson, Þráinn Árni Baldvinsson, Gunnar Ben, and Jón Geir Jóhannsson. All of them sing. All of them shred. And instead of going the full folk instrument parade, they weave folk elements in subtly—mostly through the oboe (yes, oboe) and keys, paired with three guitars and enough vocal layers to summon Odin himself.
And here’s the kicker:
Their line-up hasn’t changed since 2009.
I love that. Loyalty. Beard-deep bonds. Possibly blood oaths.
Metal + Orchestra = Goosebumps. Always.
While I did enjoy Skálmöld’s early albums (Baldur and Börn Loka), it was their live album with the Iceland Symphony Orchestra that fully claimed my heart. Released in 2013, this beast of a performance reimagines songs from their first two records—and let me tell you: this is what this music was meant for.
It’s cinematic. Colossal.
It made my skin crawl—in a good way.
If you’ve got time, do yourself a favour and watch the concert—especially the live version of Kvaðning. I swear to every Norse deity out there, the moment at 4:53 when the four guys step forward—three guitars, one bass, full power stance—and just start shredding with those ridiculous grins on their faces? That moment could melt Icelandic glaciers. It’s pure, unfiltered joy. I am HOWLING. This is the best thing I’ve seen all year. Maybe in my life.
Myth, Melody, Mayhem
Skálmöld’s lyrical world is steeped in Norse mythology and Icelandic sagas—and you can feel that in every second. Even without speaking the language, the narrative structure is unmistakable. Each song is its own little myth arc, with shifting moods, tempo changes, character-driven vocals. There are build-ups. Climaxes. Moments where everything slows to a near-whisper before the hammer comes crashing down again.
And the vocals? Wildly versatile.
Björgvin handles most of the main (gruff, glorious) parts—his delivery intense to the point of unhinged. He stares. He glares. He grunts like he’s trying to scare off rival clans with sound alone. But he’s backed by clean vocals, screams, choirs—every member contributes, and it all feels earned. You never know who’s going to shout next.
Also, yes: I got completely distracted down a Google Translate rabbit hole trying to understand more Norse mythology. Absolutely no regrets. I now know far more about Hel and Ragnarök than I probably should.
Favourite Tracks (aka: Musical Axes to the Chest)
Árás – The build-up here is ridiculous. Starts slow and cinematic, then around the 6:42 mark explodes into one of the most satisfying guitar assaults I’ve heard in ages. It’s heavy. It’s fun. It made me grin like a lunatic in traffic.
Hel (feat. Edda Tegeder) – This isn’t just a highlight. This is a full-body obliteration. Edda’s entrance as the goddess Hel in the live version? Unholy. The moment she opens her mouth, it’s like the air gets ripped apart. Her voice is raw, desperate, operatic doom, and it never fails to absolutely level me. The despair, the power, the sheer command of it—it’s one of the most breathtaking things I’ve ever heard in metal. Start at 3:10 if you want to be flattened.
Final Thoughts from the North
Skálmöld are one of those rare folk metal bands that don’t just sprinkle their culture on top like seasoning. They are the culture. The mythology, the attitude, the sound—it all feels authentic, powerful, and alive. The live orchestral performance doesn’t just elevate the songs. It transforms them.
Also? They just look like they’re having the absolute time of their lives on stage. Shirtless joy. Epic solos. Gleeful shouting. And yes, I was watching certain band members a little more closely. For reasons.
I’m so excited to see them at Wacken this year.
If they bring even half the energy of that live album to the stage, it’s going to be an absolute riot.