#nyttland — Public Fediverse posts

Before the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?

Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.

Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.

These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.

Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Before the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?

Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.

Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.

These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.

Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Before the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?

Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.

Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.

These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.

Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Before the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?

Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.

Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.

These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.

Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Before the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?

Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.

Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.

These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.

Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Wrote one #BrothersinRAW news item regarding
- #StellarCircuits
and published one BIR photo report of #Millhaven their release show
> https://www.brothersinraw.com/post/fotoverslag-millhaven-joc-ieper

& 2 #WhiteroomReviews news items regarding
- #DVRK
- #NyttLand
> https://www.whiteroomreviews.nl/tag/seth-abrikoos

Wrote one #BrothersinRAW news item regarding
- #StellarCircuits
and published one BIR photo report of #Millhaven their release show
> https://www.brothersinraw.com/post/fotoverslag-millhaven-joc-ieper

& 2 #WhiteroomReviews news items regarding
- #DVRK
- #NyttLand
> https://www.whiteroomreviews.nl/tag/seth-abrikoos

Wrote one #BrothersinRAW news item regarding
- #StellarCircuits
and published one BIR photo report of #Millhaven their release show
> https://www.brothersinraw.com/post/fotoverslag-millhaven-joc-ieper

& 2 #WhiteroomReviews news items regarding
- #DVRK
- #NyttLand
> https://www.whiteroomreviews.nl/tag/seth-abrikoos

Wrote one #BrothersinRAW news item regarding
- #StellarCircuits
and published one BIR photo report of #Millhaven their release show
> https://www.brothersinraw.com/post/fotoverslag-millhaven-joc-ieper

& 2 #WhiteroomReviews news items regarding
- #DVRK
- #NyttLand
> https://www.whiteroomreviews.nl/tag/seth-abrikoos

Nytt Land – Aba Khan Review

I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #AbaKhan #DarkFolk #Entertainment #Feb26 #folk #NotMetal #NyttLand #ProphecyProductions #review #reviews #Siberianmusic
https://www.newsbeep.com/us/478104/

Nytt Land – Aba Khan Review

I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #AbaKhan #DarkFolk #Entertainment #Feb26 #folk #NotMetal #NyttLand #ProphecyProductions #review #reviews #Siberianmusic
https://www.newsbeep.com/us/478104/

I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.

Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.

Aba Khan by Nytt Land

Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.

According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).

I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026

I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.

Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.

Aba Khan by Nytt Land

Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.

According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).

I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026

I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.

Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.

Aba Khan by Nytt Land

Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.

According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).

I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026

I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.

Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.

Aba Khan by Nytt Land

Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.

According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).

I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026

I’d like to share my favorite fact about Nytt Land, the Serbian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.

Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.

Aba Khan by Nytt Land

Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.

According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).

I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026

Mortiis y Nytt Land en Chile: Un ritual y un recorrido por paisajes nórdicos | vía #NaciónRock

https://www.nacionrock.com/mortiis-y-nytt-land-en-chile-un-ritual-y-un-recorrido-por-paisajes-nordicos/

#albumdebut #ambientmusic #atmosférico #fdttilherske #mortiis #mortiisenchile #nyttland #paisajesnórdicos #ritual #rockenvivo

Nytt Land: Rituales chamánicos en honor a las tierras nórdicas | vía #NaciónRock

https://www.nacionrock.com/nytt-land-rituales-chamanicos-en-honor-a-las-tierras-nordicas/

#agenda #ambient #atmosférico #especiales #historiaantiguanórdica #nyttland #paisajes #postmetal #ritualeschamánicos #tierrasnórdicas

Misticismo Nórdico en pleno verano: la llegada de Nytt Land y Mortiis | vía #iRock

https://www.irock.cl/misticismo-nordico-en-pleno-verano-la-llegada-de-nytt-land-y-mortiis/?utm_source=rss&utm_medium=rss&utm_campaign=misticismo-nordico-en-pleno-verano-la-llegada-de-nytt-land-y-mortiis

#blackmetal #mortiis #nyttland

📣 10. Bandwelle beim Wave-Gotik-Treffen Leipzig! 🎸 Erlebe einen spannenden Schnelldurchlauf durch die neu angekündigten Bands: FANGS ON FUR, SWEET ERMENGARDE, LABYRINTH EAR, DIAVOL STRAIN (Europapremiere), CENTHRON, NYTT LAND, URBAN HEAT, CONTAINER 90, LIEBKNECHT, LAKESIDE-X. 🎶
#wgt2025 #fangsonfur #sweetermengarde #labyrinthear #diavolstrain #centhron #nyttland #urbanheat #container90 #liebknecht #lakesidex #rock #alternative #hardrock #electr...
https://mpgo.ws/3XGq3

#monkeypress

📣 10. Bandwelle beim Wave-Gotik-Treffen Leipzig! 🎸 Erlebe einen spannenden Schnelldurchlauf durch die neu angekündigten Bands: FANGS ON FUR, SWEET ERMENGARDE, LABYRINTH EAR, DIAVOL STRAIN (Europapremiere), CENTHRON, NYTT LAND, URBAN HEAT, CONTAINER 90, LIEBKNECHT, LAKESIDE-X. 🎶
#wgt2025 #fangsonfur #sweetermengarde #labyrinthear #diavolstrain #centhron #nyttland #urbanheat #container90 #liebknecht #lakesidex #rock #alternative #hardrock #electr...
https://mpgo.ws/3XGq3

#monkeypress

📣 10. Bandwelle beim Wave-Gotik-Treffen Leipzig! 🎸 Erlebe einen spannenden Schnelldurchlauf durch die neu angekündigten Bands: FANGS ON FUR, SWEET ERMENGARDE, LABYRINTH EAR, DIAVOL STRAIN (Europapremiere), CENTHRON, NYTT LAND, URBAN HEAT, CONTAINER 90, LIEBKNECHT, LAKESIDE-X. 🎶
#wgt2025 #fangsonfur #sweetermengarde #labyrinthear #diavolstrain #centhron #nyttland #urbanheat #container90 #liebknecht #lakesidex #rock #alternative #hardrock #electr...
https://mpgo.ws/3XGq3

#monkeypress

📣 10. Bandwelle beim Wave-Gotik-Treffen Leipzig! 🎸 Erlebe einen spannenden Schnelldurchlauf durch die neu angekündigten Bands: FANGS ON FUR, SWEET ERMENGARDE, LABYRINTH EAR, DIAVOL STRAIN (Europapremiere), CENTHRON, NYTT LAND, URBAN HEAT, CONTAINER 90, LIEBKNECHT, LAKESIDE-X. 🎶
#wgt2025 #fangsonfur #sweetermengarde #labyrinthear #diavolstrain #centhron #nyttland #urbanheat #container90 #liebknecht #lakesidex #rock #alternative #hardrock #electr...
https://mpgo.ws/3XGq3

#monkeypress

#TheMetalDogArticleList
#MetalSucks
Nytt Land Release New Video for “Johem Ar”
This new video celebrates the steppes of Siberia.

https://www.metalsucks.net/2023/11/02/nytt-land-release-new-video-for-johem-ar/

#NyttLand #JohemAR #MetalSucks #MusicVideo #VideoPremiere #NewMusic #HeavyMusic #ProgMetal

#TheMetalDogArticleList
#MetalSucks
Nytt Land Release New Video for “Johem Ar”
This new video celebrates the steppes of Siberia.

https://www.metalsucks.net/2023/11/02/nytt-land-release-new-video-for-johem-ar/

#NyttLand #JohemAR #MetalSucks #MusicVideo #VideoPremiere #NewMusic #HeavyMusic #ProgMetal

#TheMetalDogArticleList
#MetalSucks
Nytt Land Release New Video for “Johem Ar”
This new video celebrates the steppes of Siberia.

https://www.metalsucks.net/2023/11/02/nytt-land-release-new-video-for-johem-ar/

#NyttLand #JohemAR #MetalSucks #MusicVideo #VideoPremiere #NewMusic #HeavyMusic #ProgMetal

#TheMetalDogArticleList
#MetalSucks
Nytt Land Release New Video for “Johem Ar”
This new video celebrates the steppes of Siberia.

https://www.metalsucks.net/2023/11/02/nytt-land-release-new-video-for-johem-ar/

#NyttLand #JohemAR #MetalSucks #MusicVideo #VideoPremiere #NewMusic #HeavyMusic #ProgMetal

#TheMetalDogArticleList
#MetalSucks
Nytt Land Release New Video for “Johem Ar”
This new video celebrates the steppes of Siberia.

https://www.metalsucks.net/2023/11/02/nytt-land-release-new-video-for-johem-ar/

#NyttLand #JohemAR #MetalSucks #MusicVideo #VideoPremiere #NewMusic #HeavyMusic #ProgMetal

#paganmusic #norse #pagan #folk

#NyttLand - #Ragnarok live in #Minsk 2019

https://www.youtube.com/watch?v=I8Cpjy_sQsE

#paganmusic #norse #pagan #folk

#NyttLand - #Ragnarok live in #Minsk 2019

https://www.youtube.com/watch?v=I8Cpjy_sQsE

#paganmusic #norse #sibirian #pagan #folk

#NyttLand - song of Kazym goddess

https://www.youtube.com/watch?v=2oKiUAxNPS8

#paganmusic #norse #sibirian #pagan #folk

#NyttLand - song of Kazym goddess

https://www.youtube.com/watch?v=2oKiUAxNPS8

#paganmusic #norse #siberian #shaman #pagan #ritual #folk

#Nyttland - #Ragnarok

https://www.youtube.com/watch?v=0CKpDSnzjNo

#paganmusic #norse #siberian #shaman #pagan #ritual #folk

#Nyttland - #Ragnarok

https://www.youtube.com/watch?v=0CKpDSnzjNo

#paganmusic #norse #siberian #shaman #pagan #ritual #folk

#Nyttland - U-Gra

https://www.youtube.com/watch?v=F0P7rXbY1j4

#paganmusic #norse #siberian #shaman #pagan #ritual #folk

#Nyttland - U-Gra

https://www.youtube.com/watch?v=F0P7rXbY1j4

#paganmusic #norse #siberian #shaman #pagan #ritual #folk

#Nyttland - Ritual

https://www.youtube.com/watch?v=-dqtkVMkziw

#paganmusic #norse #siberian #shaman #pagan #ritual #folk

#Nyttland - Ritual

https://www.youtube.com/watch?v=-dqtkVMkziw

#paganmusic #norse #pagan #folk

#NyttLand - U-Gra

https://www.youtube.com/watch?v=oMiq_t9xUR8

#paganmusic #norse #pagan #folk

#NyttLand - U-Gra

https://www.youtube.com/watch?v=oMiq_t9xUR8

#paganmusic #norse #pagan #folk

#NyttLand - #Ritual

https://www.youtube.com/watch?v=Z_CPQFTaCtA

#paganmusic #norse #pagan #folk

#NyttLand - #Ritual

https://www.youtube.com/watch?v=Z_CPQFTaCtA

Some good acoustic music today:

NYTT LAND - Ballads of Lost Times / Unplugged 2020 (Full Concert)

https://www.youtube.com/watch?v=QTFMCcj-P4w

#music #folk #NyttLand #Siberian #neofolk

Some good acoustic music today:

NYTT LAND - Ballads of Lost Times / Unplugged 2020 (Full Concert)

https://www.youtube.com/watch?v=QTFMCcj-P4w

#music #folk #NyttLand #Siberian #neofolk

RT @[email protected]

J-17 Et voici la programmation par jour du @[email protected] dont le @[email protected] est le représentant pour la France !! #Amenra #Avatar #AngelusApatrida #Gutalax #RottingChrist #Heidevolk #NyttLand #OrangeGoblin #Primordial
Toutes les info => https://www.metalfestivalalliance.com/

🐦🔗: https://twitter.com/YannLeBaraillec/status/1285184505423298560