At this point it’s safe to say that Gremnir is an act that I will always find favor with due to him meddling the ancient Pagan affairs with modern music production like some kind of futuristic shaman summoning spirits from beyond to tell their tales. This was more obvious prior to The Blackout before all the favorable reviews I wrote from the project were wiped from the site forever (backup does exist I just have to get around to re-uploading a ton of content).
Gremnir has launched back on my radar as one of the hidden gems of the Ancient Nordic revival that’s become increasingly popular in the recent years due to the release of his third full-length album Maðr Er Manns Gaman. Gremnir describes the album perfectly so I’ll quote directly below.
Maðr Er Manns Gaman (Old Norse, “People’s joy is in other people” [Hávamál 47]) puts stanzas of poetry from Hávamál, or “Teachings of the High One (Odin)” to music. Stanzas used highlight some of Odin’s timeless wisdom about healthy reciprocal relationships, treating loved ones with respect, as well as encouraging growth within one’s support system.
An otherwise touching statement and intent in a world filled with rife and chaos. I do have to respect Gremnir’s vision as most respond with hate and vitriol rather than an overarching theme of peace and unity. And we need more of that in the world.
The album begins with Wyrd Saman featuring Kara Jones and contains some wonderful throat singing, ambient tones of winds rushing that make me feel like I’m standing on cold grasslands, and string instruments that echo sails through the frozen north. Sinnsyk was reviewed back in November of 2022 and I had this to say about it:
The nearly-seven minute ‘Sinnsyk’ starts off with depressing cello notes and bouts of low and rumbling percussion. Being a fan of epic medieval films, all I could think of through these notes, including the cinematic ambiance, was that of a scorched battlefield as those who remain scour through it for survivors. Around the three-and-a-half-minute mark, Gremnir’s vocals kick in. What we get is traditional Nordic throat singing as well as clean vocals intertwining with one another. Gremnir is powerful, channeling his grief into strength, and echoing the final lines of the song, ‘Hel called back / He still lives in you”.
Moderberg is lighter in tone and sounds hopeful and cheery wherein Veggrins gives off a feeling of comradery thanks to the chorus effect on the vocals. Both songs wouldn’t sound out of place as a group of friends sat around a campfire and sang to one another. A real epic awaits in Sandr Ok Snjár. Just like in God of War: Ragnarok that combines multiple mythologies into one, Gremnir does the same by taking his Norse origins and combining it with that of the Middle East. This is all backed up by Naheli and Suvi, two singers who enlighten the song.
Fimbulwinter is yet another collaboration track that features the angelic choir of Sarah McSweeney. I couldn’t help but compare it to the song you hear in Gladiator during Maximus’ death as he grazed his hands over the crops. Hangatyr features guest Bran Lyle Bowen and the song is a bit more rambunctious than the rest sounding more like a prayer, a ritual, a calling than anything else. The final song on the album Ragnarok is a two-piece. At first it sounds like the typical Viking chants we’ve gotten to know from Gremnir before turning into something that sounds like a funeral song for mourning. I’m not quite sure the two parts match all that well, but they do stand well on their own.
Maðr Er Manns Gaman is another good album from Gremnir but I do think that he needs to start doing something a bit more unique with his music. His first two albums are wonderful and this one is as well. But I feel as if Maðr Er Manns Gaman is a bit redundant as far as new sounds come along. I’d like to hear something a bit more fresh next time. I believe Sandr Ok Snjar is a perfect example of that, blending Norse foundations with Middle Eastern influences.
