Týr

With Hel, the Faroe Islands' Týr provide even more irrefutable evidence that they stand at the vanguard of Scandinavian metal. Their eighth full-length is a collection of ruthlessly melodic and irresistibly compelling progressive folk metal that will immediately resonate with any who have followed the band at any point over the two decades of their storied career. "Being so close to the album, it's almost impossible for us in the band to have an objective opinion about it, but my impression is that it's a more diverse collection that's also more extreme in some ways. There are more instrumental passages than on 'Valkyrja' (2013), and there are a lot of guitar and bass details," states guitarist/vocalist Heri Joensen. "I really feel we've realized the vision we set out to create all those years ago, and as I listen through the album, I am satisfied with every aspect: the epicness, the intricacy, the melodies and harmonies, and the sheer heaviness of it. I love the whole atmosphere of it."

Known for their prolific nature - dropping their first five full-lengths in the space of just seven years - the six-year gap between Valkyrja and Hel is by far the longest between any two of their records. During that period the band toured hard, taking the album around the world, including a support run with Children Of Bodom in North America and an appearance on the 70,000 Tons Of Metal cruise. However, other factors played into this extended break between releases. "We approached this one differently because I learned that if I continue doing albums in the way we had up to now, I would die from a heart attack before I'm 50!" says Joensen. "That's one of the reasons we changed our method and took such a long time on this one." That this tactic - which also includes more songwriting contributions from bassist/vocalist Gunnar Thomsen and guitarist Terji Skibenæs than on previous releases - has been beneficial is borne out in the finished product, which is perhaps more immersive than those that came before. "Musically it leans a bit towards our album, 'Ragnarok' (2005)," states Thomsen. "It's a bit more epic and also much better worked through than any of our previous albums." It also marks the recording debut of drummer Tadeusz Rieckmann, who has manned the drum throne for Týr's live shows since 2016. "We had some problems finding the right guy some years back, but Tadeusz is the man for the job," says Joensen. "He's a very technically able drummer, but at the same time, he has a very natural old-school heaviness to his style, and he plays with deep emotion, which is just what we need."

Conceptually, the album is informed by a combination of mythology, personal experience and observations of current international events, making for a multifaceted experience that can be processed and understood on many levels. Starting not with a specific story to tell but with an atmosphere in mind, Joensen prefers not to disclose too much detail when it comes to lyrics, keen for listeners to have a chance to take what they want from the songs, though he provides a basic description of that which inspired him. "Hel is the realm of death in Norse mythology, the underworld where those who die a natural death, not in battle, go. A bit confusingly, it is also the name of the goddess who rules over the same realm. She's the daughter of Loki and a terrifying creature to look upon." Two of the songs - "Ragnars Kvæõi" and "Álvur Kongur" - are traditional Faroese ballads and are as such sung in Joensen's native tongue. Followers of Týr will be aware that they have on numerous occasions strayed from English, which Joensen acknowledges as the "language of metal", though this time out it is only the ballads that feature non-English lyrics. "If I have a good folky melody, I always have the thought that I should write the lyrics in Faroese, but I seldom have the time. The traditional songs come with lyrics, so it's just about picking out the verses I want to use." These tracks were in actuality selected even before the release of Valkyrja and have had a long gestation period, Joensen feeling that in adapting them they very much fit with the band's signature sound. "I am always trying out melodies and chose 'Ragnars Kvæði' first for the fascinating melody in the chorus, and secondly for the storyline. The other ballad I picked first because of the lyrics, which refer to Odin extensively, and secondly for the melody and chorus. I was very satisfied with the harmonies and epic feel of the arrangements I'd come up with, and to tell you the truth, I wish there were more songs of this kind on the album."

Hel was tracked entirely by Thomsen and Joensen, with sessions split between the latter's studio in Søldarfjørður, drums lain down at Jacob Hansen's studio in Denmark, Skibenæs working in his home studio, and some solos and bass details recorded while they were on the road in North America. "The sessions took us a long time because we did it all on our own. But we gathered a lot of knowhow while doing it, so it will be a good reference for the future," states Thomsen. Joensen concurs, adding, "It was a bit more relaxing than usual, which was good for me. It took some discipline, and creative people are not typically the most disciplined types. I am definitely not, so I guess it could have gone faster with someone else at the whip!" That the delay in getting the record out means it's emerging in the twentieth year of Týr's existence is quite poignant. It has definitely not been an easy road to this point, with several members having come and gone, and those that remain having had to endure some very difficult periods, but despite all of it, they have managed to make it through, and achieved a great deal in the process. "I did dream about becoming an internationally successful professional when I started. It's what I aimed at, but still it's a bit surreal that we've made it this far," Joensen admits. "I didn't in my wildest dreams think I could put survive such misery and abject poverty that this career has lead me through. Still, here I am." Thomsen "could not be prouder" when he looks back at the string of records they have released, also acknowledging the ups and downs experienced along the way, but making an important point: "We've done something nobody from where we're from has done before," he states plainly. "But there's a lot more to come!"

Keep up to date with TÝR at the following locations:
http://www.tyr.fo/
https://www.facebook.com/tyrband
https://twitter.com/tyrband
https://www.instagram.com/tyr_official
https://www.youtube.com/tyrband


Band History:
Profession of the Christian Faith or Decapitation: This was the choice given by Sigmundur to his Faroese Viking compatriot Tróndur í Gøtu. And so it was that in 999 A.D., the Christianization of the small “Faeroe Islands” began, casting a veil of oblivion over the ancient Scandinavian gods and only leaving the relics of forgotten heathenry buried deep within the Christian ritual. Or so it was believed...

Exactly 999 years later, a small group fondly remembering the archaic gods and rites came together to form the Faroese Viking metal band, TÝR. The one-armed God of War —the bravest of all— became the eponym of the Nordic quartet. Yet TÝR mastermind Heri Joensen is no war monger in disguise and points out that TÝR (also known as the God of Justice) is also revered for first seeking the avenues of diplomacy—an attribute that does not take away from this god of war’s drive.

A distinctive trademark that sets TÝR apart from most other bands of the Viking metal genre is the authenticity of their music: “Traditional music dating back to the Vikings, that is not preserved anywhere else in the world, not even in Iceland, is passed on in an oral tradition here and it is still alive and well. That is what we build our music on and draw great inspiration from,” explains Joensen.

Almost every song is based on Faroese or Norwegian lore, and is riveted in the garb of the folk metal genre. Its approach unmistakably creates very true Viking metal.

Following the release of a demo, the Ólavur Riddararos single, full-length How Far to Asgard, six years of innumerable gigs, and several domestic television appearances, TÝR’s second full-length Eric the Red became the Islands’ best-selling album, coming to the attention of Napalm Records, the label that finally made the album available worldwide in 2006.

Immediately, the unique approach of TÝR´s music, melting traditional Nordic songs and dances with Celtic influences, doom, heavy, and progressive metal found fans around the globe. “Hail to The Hammer” became the hymn to the new generation of folk, pagan, and Viking metal fans.

In late 2006, TÝR refined their trademark sound with Ragnarok. Technically brilliant and 100 percent authentic, Ragnarok was nothing less than a masterpiece within the true Viking metal genre. The Faroese band embarked on a European tour with Die Apokalyptischen Reiter and a few months later with AMON AMARTH. Though musically different, TÝR gained legions of new fans, impressed by the four men on stage, who were able to turn every show into a demonstration of musical prowess.

Festival appearances throughout Europe and continued touring followed until TÝR enjoyed their biggest live triumph ever at the very over-crowded Wet Stage in Wacken.

Land was released in 2008 and proved to be yet another milestone in the band’s career. Traditional Faroese lyrics marked tracks such as “Gátu Ríma,” “Fípan Fagra” and “Lokka Táttur,” and “Gandkvæði Tróndar,” which is a poem by J.H.O. Djurhuus about the Faroese chieftain Tróndur, who fought against the dying of the old beliefs and for the independence of the Faeroes. A video clip was produced to the fan favorite “Sinklars Vísa.” Land received overwhelming positive feedback and a new audience was able to experience the power of TÝR for the first time.

Following the release of Land, TÝR embarked on numerous tours through Europe. One of the highlights was without a doubt the Aaskereia Festival tour with then label-mates Alestorm and Hollenthon. Thanks to their efforts, the band reached many new fans with their memorable concerts. 2008 ended with TÝR being nominated as “Band of the Year” by the Faroese National TV and radio. However, the band had no time to rest on its laurels and embarked on yet another tour through North America in the spring of 2009.

Despite their busy touring schedule, TÝR worked on new songs recorded in early 2009. The band chose to produce the album on native soil. Jacob Hansen mixed the new material with finishing touches provided by the mastering experts at Finnvox. By the Light of the Northern Star met with great feedback from fans and critics alike. The new anthem “Hold the Heathen Hammer High“ was regarded as the legitimate successor to “Hail to the Hammer.” After the release of the album By the Light of the Northern Star, the band played numerous concerts and festivals, as well as taking part in the 70.000 Tons of Metal cruise, while still finding the time to work on new material for their upcoming release.

The story of King Thrym, who dared steal Thor´s hammer "Mjollnir," may set the lyrical stage on TÝR's latest album, but it does not prevent them from covering more current topics like in the track "Shadow of the Swastika." The Lay of Thrym follows the path of the band's previous releases by uniting classic heavy metal riffs with impressive drumming, traditional melodies, and powerful choruses. The result is a number of epic anthems, such as "Take Your TÝRant" and "Hall of Freedom," both of which will most certainly earn a permanent spot on TÝR's future set lists. Frontman Heri Joensen continues to give TÝR a unique and unmistakable edge with magnificent vocals and superb guitar work. Jacob Hansen was again responsible for recording, mixing, and mastering the album, complementing this fascinating Faeroese sound universe with finishing touches that allow every last detail to shine. The Lay of Thrym is a genuine Viking metal album that will undoubtedly secure TÝR's hold on this genre with its heroic melodies and glorious riffs.

Valkyrja, the 7 full-length album from the Faroe Islands natives TÝR, is a concept album with a story line based loosely around an nameless Viking age warrior who leaves his woman and goes off to impress the Valkyrie on the battlefield so that she may bring him to Valhalla, or to Fólkvangr, the home of Freyja—the goddess associated with love, sexuality, beauty, fertility, gold, sorcery, war, and death. One can say the album is also indirectly about women and how they affect men and what men will do to impress and obtain women. Frontman and founder Heri Joensen goes on to explain; “the woman that the warrior leaves may represent the earthly women. Freyja, The Lady Of The Slain, may represent the perfection of Women, and the Valkyrie is the link between the two, taking men from earthly to godly women.”

Recorded at Hansen Studios in Ribe, Denmark with Jacob Hansen who handled production, mixing and mastering, the band began writing guitars and drums for Valkyrja over a year ago with melody lines and arrangements being handled in the studio. “I had the story outline and approximate titles very early in the writing process, but only very late, maybe almost too late, did I write the actual lyrics,” comments Heri Joensen. The band’s drummer, Kári Streymoy, parted ways with TÝR after the band completed their US run on Pagan Fest and before they entered the studio so TÝR enlisted George Kollias who stepped in to handle recording duties on Valkyrja. In terms of what the band hopes fans take away from the album, bassist Gunnar H. Thomsen states “I hope they will enjoy it and they like the new direction as well as (guitarist) Terji's bigger involvement in writing and George's drumming. We had a more upbeat direction without changing TÝR's style.”

Discography:
How Far to Asgard (2002)
Eric the Red (2003)
Ragnarok (2006)
Land (2008)
By the Light of the Northern Star (2009)
The Lay of Thrym (2011)
Valkyrja (2013)
Hel (2019)
Battle Ballads (2024)