Echoes of the North: Exploring the Ancient Nordic Folk Roots in the Music of Myrkur’s Amalie Bruun

Myrkur, the stage name of Danish musician Amalie Bruun, is best known for blending black metal with ethereal vocals and Scandinavian folk influences. While her earlier work drew attention for its fusion of extreme metal and haunting choral elements, Myrkur’s musical evolution has increasingly leaned into traditional Nordic folk, particularly with albums like Folkesange (2020). This pivot away from distortion-heavy arrangements and toward acoustic instruments reflects a deep engagement with the musical heritage of her homeland. Myrkur’s folk music stands out not just for its authenticity but for its ability to reinterpret centuries-old traditions through a contemporary lens.

At the heart of Myrkur’s folk work is a dedication to historical accuracy and sonic texture. Instruments such as the nyckelharpa, lyre, mandola, and tagelharpa frequently appear in her recordings, many of which date back to the medieval and Viking eras. Bruun studied traditional Scandinavian vocal styles, including kulning—a high-pitched, wordless form of herding call used by women in the Nordic countryside. These elements combine to create a sound that feels ancient and ceremonial, yet alive and emotionally resonant. Unlike many artists who simply add folk “flavor” to modern songs, Myrkur constructs entire pieces rooted in historical forms and traditional melodies.

Folkesange, her most explicitly folk-oriented album, marked a turning point in Myrkur’s career. Released in 2020, the album features a mix of traditional Nordic songs and original compositions written in the same stylistic vein. It includes tracks sung in old Danish and other regional dialects, with lyrics often drawn from Norse mythology, folklore, and medieval ballads. One standout song, “Leaves of Yggdrasil,” draws its lyrical inspiration from the mythic tree of life in Norse cosmology and is performed with haunting simplicity. The album received critical acclaim for its atmospheric quality and faithful homage to the folk tradition, proving that Bruun’s move into acoustic territory was both thoughtful and musically rich.

Live performances further emphasize Myrkur’s commitment to cultural authenticity. Her concerts, especially those focusing on her folk material, often feature traditional garb, candlelit settings, and acoustic-only instrumentation. These elements create a sense of ritual that immerses the audience in a distant, pre-modern world. Rather than treating folk music as a static or nostalgic artifact, Myrkur uses it as a living medium—one that continues to evolve through her interpretations. Whether performing in ancient churches or on modern stages, she bridges the past and the present, showing that folk music can still possess emotional and spiritual urgency.

In exploring the folk tradition, Myrkur has positioned herself as a unique voice in both the metal and folk worlds. Her work challenges the boundaries of genre and invites listeners to reexamine the roots of Nordic identity through sound. By breathing new life into old songs and crafting new ones in their image, Myrkur proves that folk music is not merely a record of the past but a vessel for personal and cultural expression. In doing so, she continues a lineage of oral storytelling and sacred sound that resonates well beyond the borders of Denmark.

CREATIVE: Myrkur

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