Assassin's Creed: Valhalla: Dawn of Ragnarök soundtrack - Revision history

Darman36: /* Blood, Fire, Tears */

2026-07-21T15:05:47Z

Blood, Fire, Tears

← Older revision		Revision as of 17:05, 21 July 2026
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	==''Blood, Fire, Tears''==		==''Blood, Fire, Tears''==
	{{Soundtrack Infobox		{{Soundtrack Infobox
	\|name = ''Assassin's Creed Valhalla:<br>Dawn of Ragnarök:<br>Blood, Fire, Tears''		\|name=''Assassin's Creed Valhalla:<br>Dawn of Ragnarök:<br>Blood, Fire, Tears''
	\|image = ACV Ragnarok Blood Fire Tears soundtrack.jpg		\|image=ACV Ragnarok Blood Fire Tears soundtrack.jpg
	\|composer = Einar Selvik		\|composer=Einar Selvik
	\|arranger = Einar Selvik		\|arranger=Einar Selvik
	\|producer = Einar Selvik		\|producer=Einar Selvik
	\|no discs = 1		\|no discs=1
	\|no tracks =3		\|no tracks =3
	\|length = 13:08		\|length=13:08
	\|release = 11 March 2022		\|release=11 March 2022
	\|link=[https://music.apple.com/ca/album/assassins-creed-valhalla-blood-fire-tears-dawn-of/1611792522 iTunes]<br>[https://open.spotify.com/album/3kz3z5MewDUNEXLzdUQWdv Spotify]<br>[https://www.amazon.com/dp/B09TG36QWT Amazon]		\|link=[https://music.apple.com/ca/album/assassins-creed-valhalla-blood-fire-tears-dawn-of/1611792522 iTunes]<br>[https://open.spotify.com/album/3kz3z5MewDUNEXLzdUQWdv Spotify]<br>[https://www.amazon.com/dp/B09TG36QWT Amazon]
	}}		}}
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	<tabber>		<tabber>
	\|-\|Frigg Wept=		\|-\|Frigg Wept=
	{\|border="1" cellpadding="1" cellspacing="1" style="width:~~800px~~"		{\|border="1" cellpadding="1" cellspacing="1" style="width:600px"
	!Old Norse		!Old Norse
	!English		!English
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	\|}		\|}
	\|-\|Grieving Baldr=		\|-\|Grieving Baldr=
	{\|border="1" cellpadding="1" cellspacing="1" style="width:~~800px~~"		{\|border="1" cellpadding="1" cellspacing="1" style="width:400px"
	!Old Norse		!Old Norse
	!English		!English
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	\|}		\|}
	\|-\|Surtr=		\|-\|Surtr=
	{\|border="1" cellpadding="1" cellspacing="1" style="width:~~800px~~"		{\|border="1" cellpadding="1" cellspacing="1" style="width:600px"
	!Old Norse		!Old Norse
	!English		!English

Darman36 at 15:00, 21 July 2026

2026-07-21T15:00:08Z

← Older revision		Revision as of 17:00, 21 July 2026
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	#The Seeker (Bonus Track) - 3:02<ref name="JunoRecords"/>		#The Seeker (Bonus Track) - 3:02<ref name="JunoRecords"/>

	==''~~Assassin's Creed Valhalla: Dawn of Ragnarök:~~ Blood, Fire, Tears''==		==''Blood, Fire, Tears''==
	{{Soundtrack Infobox		{{Soundtrack Infobox
	\|name = ''Assassin's Creed Valhalla:<br>Dawn of Ragnarök:<br>Blood, Fire, Tears''		\|name = ''Assassin's Creed Valhalla:<br>Dawn of Ragnarök:<br>Blood, Fire, Tears''
Line 86:		Line 86:
	\|-\|Frigg Wept=		\|-\|Frigg Wept=
	{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"		{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"
	!~~width="45%"\|~~Old Norse		!Old Norse
	!~~width="55%"\|~~English		!English
	\|-		\|-
	\|''En Frigg of grét í Fensölum.''		\|''En Frigg of grét í Fensölum.''
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	\|-\|Grieving Baldr=		\|-\|Grieving Baldr=
	{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"		{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"
	!~~width="45%"\|~~Old Norse		!Old Norse
	!~~width="55%"\|~~English		!English
	\|-		\|-
	\|''Mjǫk erum tregt<br>tungu at hrœra<br>með loptvætt ljóðpundara;<br>esa nú vænt<br>of {{Wiki\|List of names of Odin\|Viðurs}} þýfi,<br>né hógdrœgt<br>ór hugar fylgsni.''		\|''Mjǫk erum tregt<br>tungu at hrœra<br>með loptvætt ljóðpundara;<br>esa nú vænt<br>of {{Wiki\|List of names of Odin\|Viðurs}} þýfi,<br>né hógdrœgt<br>ór hugar fylgsni.''
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	\|-\|Surtr=		\|-\|Surtr=
	{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"		{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"
	!~~width="45%"\|~~Old Norse		!Old Norse
	!~~width="55%"\|~~English		!English
	\|-		\|-
	\|''Surtr ríðr fyrst, ok fyrir honum<br>ok eftir eldr brennandi.<br>Sverð hans er gott mjök,<br>af því skínn bjartara en af sólu.''		\|''Surtr ríðr fyrst, ok fyrir honum<br>ok eftir eldr brennandi.<br>Sverð hans er gott mjök,<br>af því skínn bjartara en af sólu.''

Soranin: /* Behind the scenes */

2026-05-19T16:34:03Z

Behind the scenes

← Older revision		Revision as of 18:34, 19 May 2026
Line 173:		Line 173:

	==Behind the scenes==		==Behind the scenes==
	The "Elderstahl" referenced in the final track is presumably the name of Surtr's sword, even though no such name exists in Norse literature and [[Juno\|Hyrrokin]] refers to the blade as "the Twilight Sword" in the memory "[[The Reckoning]]". Instead, it comes from the 2011 {{Wiki\|direct-to-video}} film ''[~~[w:c~~:marvelanimated:Thor: ~~Tales of Asgard~~ (Video)\|Thor: Tales of Asgard]]'' that was part of the ''{{Wiki\|Marvel Animated Features}}'' series by {{Wiki\|Marvel Animation}} and {{Wiki\|Lions Gate Entertainment}}. In the movie, the character {{Wiki\|Surtur (character)\|Surtur}} wielded the blade [~~[w:c~~:marvelanimated~~:Elderstahl~~ (~~Yost Universe~~)\|Elderstahl]] in a fatal duel with Odin for the fate of the Nine Realms. After the All-Father slew him with his [[spear]] [[Gungnir]], the sword was lost to time and became a legendary item sought for by young heroes like [~~[w:c~~:marvelanimated~~:Thor~~ (~~Yost Universe~~)\|Thor]] to prove their worth.		The "Elderstahl" referenced in the final track is presumably the name of Surtr's sword, even though no such name exists in Norse literature and [[Juno\|Hyrrokin]] refers to the blade as "the Twilight Sword" in the memory "[[The Reckoning]]". Instead, it comes from the 2011 {{Wiki\|direct-to-video}} film ''[https://marvelanimated.fandom.com/wiki/Thor:_Tales_of_Asgard_(Video) Thor: Tales of Asgard]'' that was part of the ''{{Wiki\|Marvel Animated Features}}'' series by {{Wiki\|Marvel Animation}} and {{Wiki\|Lions Gate Entertainment}}. In the movie, the character {{Wiki\|Surtur (character)\|Surtur}} wielded the blade [https://marvelanimated.fandom.com/wiki/Elderstahl_(Yost_Universe) Elderstahl] in a fatal duel with Odin for the fate of the Nine Realms. After the All-Father slew him with his [[spear]] [[Gungnir]], the sword was lost to time and became a legendary item sought for by young heroes like [https://marvelanimated.fandom.com/wiki/Thor_(Yost_Universe) Thor] to prove their worth.

	The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in the anonymously-written ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.		The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in the anonymously-written ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.

Soranin at 15:03, 3 May 2026

2026-05-03T15:03:21Z

← Older revision		Revision as of 17:03, 3 May 2026
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	{{DISPLAYTITLE:''Assassin's Creed: Valhalla: Dawn of Ragnarök'' soundtrack}}		{{DISPLAYTITLE:''Assassin's Creed: Valhalla: Dawn of Ragnarök'' soundtrack}}{{Era\|ACV\|RW}}
	{{Era\|ACV\|RW}}
	{{Soundtrack Infobox		{{Soundtrack Infobox
	\|name = ''Assassin's Creed: Valhalla:<br>Dawn of Ragnarök''<br>(Original Game Soundtrack)		\|name = ''Assassin's Creed: Valhalla:<br>Dawn of Ragnarök''<br>(Original Game Soundtrack)
Line 178:		Line 177:
	The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in the anonymously-written ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.		The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in the anonymously-written ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.

	Most of the lyrics for "Grieving Baldr" are from the 10th century ~~{{Wiki\|skaldic~~ poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] [[Egil Skallagrimsson]]'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".		Most of the lyrics for "Grieving Baldr" are from the 10th century [[skald]]ic poem ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] [[Egil Skallagrimsson]]'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".

	The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.		The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.

imported>Soranin: /* Composition */

2025-04-19T20:37:40Z

Composition

← Older revision		Revision as of 22:37, 19 April 2025
Line 33:		Line 33:
	The exploration cues had neofolk influences from when Economou would improvise on a {{Wiki\|mandolin}} or {{Wiki\|cigar box guitar}}. From there, she would use more stringed instruments,<ref name="UbisoftInterview"/> specifically the lap harp, {{Wiki\|Viol\|viola da gamba}},<ref name="GrammyInterview">{{Cite web\|url=https://www.grammy.com/news/stephanie-economou-interview-2023-grammys-assassins-creed-valhalla-best-score-soundtrack-video-games-interactive-media\|title=Meet Stephanie Economou, The First-Ever GRAMMY Winner For Best Score Soundtrack For Video Games And Other Interactive Media\|archiveurl=\|archivedate=\|author=Enos, Morgan\|date=24 February 2023\|publisher=''National Academy of Recording Arts and Sciences''\|accessdate=11 April 2023}}</ref> the [[Finland\|Finnish]] {{Wiki\|kantele}},<ref name="GamesHubInterview1">{{Cite web\|url=https://www.gameshub.com/news/features/stephanie-economou-assassins-creed-valhalla-dawn-of-ragnarok-score-14734/\|title=Composer Stephanie Economou breaks down the musical influences of Assassin's Creed Valhalla: Dawn of Ragnarok, from black metal to neo-folk.\|archiveurl=https://web.archive.org/web/20230206115656/https://www.gameshub.com/news/features/stephanie-economou-assassins-creed-valhalla-dawn-of-ragnarok-score-14734/\|archivedate=6 February 2023\|author=Shamaly, Meena\|date=6 February 2023\|publisher=''GamesHub''\|accessdate=11 April 2023}}</ref> {{Wiki\|vielle}}, and cello, to add harmonies and counter-lines. In contrast, the combat themes took from the black metal genre, with percussion, glaring guitar, bass sounds,<ref name="UbisoftInterview"/> and {{Wiki\|tremolo}} {{Wiki\|Guitar picking\|picking}},<ref name="GrammyInterview"/> but still had to meld into the exploration music for when players entered Muspel or ''[[jötnar]]''-held territories even if they were not fighting.<ref name="UbisoftInterview"/> To Economou, this genre also blended well with the unrefined sound from all the old strings she experimented with regardless her proficiency in what she described as her own "clumsily fumbling around while discovering these amazing instruments".<ref name="GamesHubInterview1"/>		The exploration cues had neofolk influences from when Economou would improvise on a {{Wiki\|mandolin}} or {{Wiki\|cigar box guitar}}. From there, she would use more stringed instruments,<ref name="UbisoftInterview"/> specifically the lap harp, {{Wiki\|Viol\|viola da gamba}},<ref name="GrammyInterview">{{Cite web\|url=https://www.grammy.com/news/stephanie-economou-interview-2023-grammys-assassins-creed-valhalla-best-score-soundtrack-video-games-interactive-media\|title=Meet Stephanie Economou, The First-Ever GRAMMY Winner For Best Score Soundtrack For Video Games And Other Interactive Media\|archiveurl=\|archivedate=\|author=Enos, Morgan\|date=24 February 2023\|publisher=''National Academy of Recording Arts and Sciences''\|accessdate=11 April 2023}}</ref> the [[Finland\|Finnish]] {{Wiki\|kantele}},<ref name="GamesHubInterview1">{{Cite web\|url=https://www.gameshub.com/news/features/stephanie-economou-assassins-creed-valhalla-dawn-of-ragnarok-score-14734/\|title=Composer Stephanie Economou breaks down the musical influences of Assassin's Creed Valhalla: Dawn of Ragnarok, from black metal to neo-folk.\|archiveurl=https://web.archive.org/web/20230206115656/https://www.gameshub.com/news/features/stephanie-economou-assassins-creed-valhalla-dawn-of-ragnarok-score-14734/\|archivedate=6 February 2023\|author=Shamaly, Meena\|date=6 February 2023\|publisher=''GamesHub''\|accessdate=11 April 2023}}</ref> {{Wiki\|vielle}}, and cello, to add harmonies and counter-lines. In contrast, the combat themes took from the black metal genre, with percussion, glaring guitar, bass sounds,<ref name="UbisoftInterview"/> and {{Wiki\|tremolo}} {{Wiki\|Guitar picking\|picking}},<ref name="GrammyInterview"/> but still had to meld into the exploration music for when players entered Muspel or ''[[jötnar]]''-held territories even if they were not fighting.<ref name="UbisoftInterview"/> To Economou, this genre also blended well with the unrefined sound from all the old strings she experimented with regardless her proficiency in what she described as her own "clumsily fumbling around while discovering these amazing instruments".<ref name="GamesHubInterview1"/>

	When working in collaboration with Wilderun, their lead guitarist Wayne Ingram introduced Economou to the black metal music by the groups {{Wiki\|Bathory (band)\|Bathory}} from [[Sweden]] and {{Wiki\|Wolves in the Throne Room}} from America, as well as the folk music from the Norse {{Wiki\|Heilung}} to get a better idea of what sounds she wanted the album to emulate.<ref name="UbisoftInterview"/> Wilderun's members then sent her clips of different tempo drum beats, riffs, loops, and vocals like metal {{Wiki\|Death growl\|growls}} and {{Wiki\|Screaming (music)\|screams}} to draw from a "bank" when composing<ref name="UbisoftInterview"/><ref name="LakeshorePodcast"/> or modifying with synths.<ref name="GrammyInterview"/> Another influence used for the album but that was not as prominent included the American {{Wiki\|Heavy metal music\|heavy metal}} group {{Wiki\|System of a Down}}'s 1998 {{Wiki\|~~ystem~~ of a Down (album)\|eponymous debut album}}<ref name="GrammyInterview"/> and Einar's 2016 album ''Skuggsjá'' made in collaboration with {{Wiki\|Ivar Bjørnson}} from the Norwegian {{Wiki\|extreme metal}} group {{Wiki\|Enslaved (band)\|Enslaved}}.<ref name="GamesHubInterview1"/>		When working in collaboration with Wilderun, their lead guitarist Wayne Ingram introduced Economou to the black metal music by the groups {{Wiki\|Bathory (band)\|Bathory}} from [[Sweden]] and {{Wiki\|Wolves in the Throne Room}} from America, as well as the folk music from the Norse {{Wiki\|Heilung}} to get a better idea of what sounds she wanted the album to emulate.<ref name="UbisoftInterview"/> Wilderun's members then sent her clips of different tempo drum beats, riffs, loops, and vocals like metal {{Wiki\|Death growl\|growls}} and {{Wiki\|Screaming (music)\|screams}} to draw from a "bank" when composing<ref name="UbisoftInterview"/><ref name="LakeshorePodcast"/> or modifying with synths.<ref name="GrammyInterview"/> Another influence used for the album but that was not as prominent included the American {{Wiki\|Heavy metal music\|heavy metal}} group {{Wiki\|System of a Down}}'s 1998 {{Wiki\|System of a Down (album)\|eponymous debut album}}<ref name="GrammyInterview"/> and Einar's 2016 album ''Skuggsjá'' made in collaboration with {{Wiki\|Ivar Bjørnson}} from the Norwegian {{Wiki\|extreme metal}} group {{Wiki\|Enslaved (band)\|Enslaved}}.<ref name="GamesHubInterview1"/>

	By her own admission, Economou says she too often tends to "hide things in {{Wiki\|Reverberation\|reverb}} and drown them in very wet spaces", resulting in pieces acquiring an airy, dream-like quality that is not always intended. When writing the track "In Memory of a Very Fine Smithy" that plays during [[Sindri]]'s funeral in the memory "[[Forging Bonds]]", the production team told her she could use reverb as much as she wanted. To her, this cue was the perfect place for that echoing effect since it was about mournfully reminiscing one of the [[Dwarf\|dwarves]]' great craftsmen rather than indicating that players had entered a dream world to roam. Fittingly, the cue takes the dwarves' theme from the track "Svartalfheim", representing their homeland, and cycles it through different instruments, particularly the {{Wiki\|Bukkehorn\|ram's horn}} that plays solo. Initially, though, this track was too fast and "informative", requiring a few re-writes until she was happy that it eased listeners into the sadness instead of musically {{wiki\|Show, don't tell\|telling}} them this was supposed to be emotional.<ref name="LakeshorePodcast"/>		By her own admission, Economou says she too often tends to "hide things in {{Wiki\|Reverberation\|reverb}} and drown them in very wet spaces", resulting in pieces acquiring an airy, dream-like quality that is not always intended. When writing the track "In Memory of a Very Fine Smithy" that plays during [[Sindri]]'s funeral in the memory "[[Forging Bonds]]", the production team told her she could use reverb as much as she wanted. To her, this cue was the perfect place for that echoing effect since it was about mournfully reminiscing one of the [[Dwarf\|dwarves]]' great craftsmen rather than indicating that players had entered a dream world to roam. Fittingly, the cue takes the dwarves' theme from the track "Svartalfheim", representing their homeland, and cycles it through different instruments, particularly the {{Wiki\|Bukkehorn\|ram's horn}} that plays solo. Initially, though, this track was too fast and "informative", requiring a few re-writes until she was happy that it eased listeners into the sadness instead of musically {{wiki\|Show, don't tell\|telling}} them this was supposed to be emotional.<ref name="LakeshorePodcast"/>

imported>Darman36: /* Behind the scenes */

2024-03-30T15:55:53Z

Behind the scenes

← Older revision		Revision as of 17:55, 30 March 2024
Line 176:		Line 176:
	The "Elderstahl" referenced in the final track is presumably the name of Surtr's sword, even though no such name exists in Norse literature and [[Juno\|Hyrrokin]] refers to the blade as "the Twilight Sword" in the memory "[[The Reckoning]]". Instead, it comes from the 2011 {{Wiki\|direct-to-video}} film ''[[w:c:marvelanimated:Thor: Tales of Asgard (Video)\|Thor: Tales of Asgard]]'' that was part of the ''{{Wiki\|Marvel Animated Features}}'' series by {{Wiki\|Marvel Animation}} and {{Wiki\|Lions Gate Entertainment}}. In the movie, the character {{Wiki\|Surtur (character)\|Surtur}} wielded the blade [[w:c:marvelanimated:Elderstahl (Yost Universe)\|Elderstahl]] in a fatal duel with Odin for the fate of the Nine Realms. After the All-Father slew him with his [[spear]] [[Gungnir]], the sword was lost to time and became a legendary item sought for by young heroes like [[w:c:marvelanimated:Thor (Yost Universe)\|Thor]] to prove their worth.		The "Elderstahl" referenced in the final track is presumably the name of Surtr's sword, even though no such name exists in Norse literature and [[Juno\|Hyrrokin]] refers to the blade as "the Twilight Sword" in the memory "[[The Reckoning]]". Instead, it comes from the 2011 {{Wiki\|direct-to-video}} film ''[[w:c:marvelanimated:Thor: Tales of Asgard (Video)\|Thor: Tales of Asgard]]'' that was part of the ''{{Wiki\|Marvel Animated Features}}'' series by {{Wiki\|Marvel Animation}} and {{Wiki\|Lions Gate Entertainment}}. In the movie, the character {{Wiki\|Surtur (character)\|Surtur}} wielded the blade [[w:c:marvelanimated:Elderstahl (Yost Universe)\|Elderstahl]] in a fatal duel with Odin for the fate of the Nine Realms. After the All-Father slew him with his [[spear]] [[Gungnir]], the sword was lost to time and became a legendary item sought for by young heroes like [[w:c:marvelanimated:Thor (Yost Universe)\|Thor]] to prove their worth.

	The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in ~~[[Snorri Sturluson]]'s 13th century text,~~ the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.		The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in the anonymously-written ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.

	Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] [[Egil Skallagrimsson]]'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's ~~other work~~, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".		Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] [[Egil Skallagrimsson]]'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".

	The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.		The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.

imported>Soranin: /* Behind the scenes */

2023-08-19T16:12:02Z

Behind the scenes

← Older revision		Revision as of 18:12, 19 August 2023
Line 178:		Line 178:
	The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.		The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.

	Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] ~~{{Wiki\|Egill Skallagrímsson}}~~'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".		Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] [[Egil Skallagrimsson]]'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".

	The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.		The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.

imported>Darman36: /* Behind the scenes */

2023-06-03T05:45:12Z

Behind the scenes

← Older revision		Revision as of 07:45, 3 June 2023
Line 178:		Line 178:
	The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.		The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.

	Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] {{Wiki\|Egill Skallagrímsson}}'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''. The piece plays in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".		Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] {{Wiki\|Egill Skallagrímsson}}'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".

	The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.		The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.

imported>Darman36: /* Behind the scenes */

2023-06-03T05:35:29Z

Behind the scenes

← Older revision		Revision as of 07:35, 3 June 2023
Line 176:		Line 176:
	The "Elderstahl" referenced in the final track is presumably the name of Surtr's sword, even though no such name exists in Norse literature and [[Juno\|Hyrrokin]] refers to the blade as "the Twilight Sword" in the memory "[[The Reckoning]]". Instead, it comes from the 2011 {{Wiki\|direct-to-video}} film ''[[w:c:marvelanimated:Thor: Tales of Asgard (Video)\|Thor: Tales of Asgard]]'' that was part of the ''{{Wiki\|Marvel Animated Features}}'' series by {{Wiki\|Marvel Animation}} and {{Wiki\|Lions Gate Entertainment}}. In the movie, the character {{Wiki\|Surtur (character)\|Surtur}} wielded the blade [[w:c:marvelanimated:Elderstahl (Yost Universe)\|Elderstahl]] in a fatal duel with Odin for the fate of the Nine Realms. After the All-Father slew him with his [[spear]] [[Gungnir]], the sword was lost to time and became a legendary item sought for by young heroes like [[w:c:marvelanimated:Thor (Yost Universe)\|Thor]] to prove their worth.		The "Elderstahl" referenced in the final track is presumably the name of Surtr's sword, even though no such name exists in Norse literature and [[Juno\|Hyrrokin]] refers to the blade as "the Twilight Sword" in the memory "[[The Reckoning]]". Instead, it comes from the 2011 {{Wiki\|direct-to-video}} film ''[[w:c:marvelanimated:Thor: Tales of Asgard (Video)\|Thor: Tales of Asgard]]'' that was part of the ''{{Wiki\|Marvel Animated Features}}'' series by {{Wiki\|Marvel Animation}} and {{Wiki\|Lions Gate Entertainment}}. In the movie, the character {{Wiki\|Surtur (character)\|Surtur}} wielded the blade [[w:c:marvelanimated:Elderstahl (Yost Universe)\|Elderstahl]] in a fatal duel with Odin for the fate of the Nine Realms. After the All-Father slew him with his [[spear]] [[Gungnir]], the sword was lost to time and became a legendary item sought for by young heroes like [[w:c:marvelanimated:Thor (Yost Universe)\|Thor]] to prove their worth.

	The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud~~, and the piece plays distantly in the background when Odin fights phantasms of [[Glöð]], Calder, [[Malvigr]], and Sinmara in the memory "Pride of the Aesir"~~.		The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.

	Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] {{Wiki\|Egill Skallagrímsson}}'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''.		Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] {{Wiki\|Egill Skallagrímsson}}'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''. The piece plays in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".

	The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.		The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.

imported>Darman36: Chart sizing

2023-05-26T07:15:31Z

Chart sizing

← Older revision		Revision as of 09:15, 26 May 2023
Line 87:		Line 87:
	\|-\|Frigg Wept=		\|-\|Frigg Wept=
	{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"		{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"
	!width="50%"\|Old Norse		!width="45%"\|Old Norse
	!width="50%"\|English		!width="55%"\|English
	\|-		\|-
	\|''En Frigg of grét í Fensölum.''		\|''En Frigg of grét í Fensölum.''
Line 113:		Line 113:
	\|-\|Grieving Baldr=		\|-\|Grieving Baldr=
	{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"		{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"
	!width="50%"\|Old Norse		!width="45%"\|Old Norse
	!width="50%"\|English		!width="55%"\|English
	\|-		\|-
	\|''Mjǫk erum tregt<br>tungu at hrœra<br>með loptvætt ljóðpundara;<br>esa nú vænt<br>of {{Wiki\|List of names of Odin\|Viðurs}} þýfi,<br>né hógdrœgt<br>ór hugar fylgsni.''		\|''Mjǫk erum tregt<br>tungu at hrœra<br>með loptvætt ljóðpundara;<br>esa nú vænt<br>of {{Wiki\|List of names of Odin\|Viðurs}} þýfi,<br>né hógdrœgt<br>ór hugar fylgsni.''
Line 151:		Line 151:
	\|-\|Surtr=		\|-\|Surtr=
	{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"		{\|border="1" cellpadding="1" cellspacing="1" style="width:800px"
	!width="50%"\|Old Norse		!width="45%"\|Old Norse
	!width="50%"\|English		!width="55%"\|English
	\|-		\|-
	\|''Surtr ríðr fyrst, ok fyrir honum<br>ok eftir eldr brennandi.<br>Sverð hans er gott mjök,<br>af því skínn bjartara en af sólu.''		\|''Surtr ríðr fyrst, ok fyrir honum<br>ok eftir eldr brennandi.<br>Sverð hans er gott mjök,<br>af því skínn bjartara en af sólu.''

← Older revision		Revision as of 22:37, 19 April 2025
Line 33:		Line 33:
	The exploration cues had neofolk influences from when Economou would improvise on a {{Wiki\|mandolin}} or {{Wiki\|cigar box guitar}}. From there, she would use more stringed instruments,<ref name="UbisoftInterview"/> specifically the lap harp, {{Wiki\|Viol\|viola da gamba}},<ref name="GrammyInterview">{{Cite web\|url=https://www.grammy.com/news/stephanie-economou-interview-2023-grammys-assassins-creed-valhalla-best-score-soundtrack-video-games-interactive-media\|title=Meet Stephanie Economou, The First-Ever GRAMMY Winner For Best Score Soundtrack For Video Games And Other Interactive Media\|archiveurl=\|archivedate=\|author=Enos, Morgan\|date=24 February 2023\|publisher=''National Academy of Recording Arts and Sciences''\|accessdate=11 April 2023}}</ref> the [[Finland\|Finnish]] {{Wiki\|kantele}},<ref name="GamesHubInterview1">{{Cite web\|url=https://www.gameshub.com/news/features/stephanie-economou-assassins-creed-valhalla-dawn-of-ragnarok-score-14734/\|title=Composer Stephanie Economou breaks down the musical influences of Assassin's Creed Valhalla: Dawn of Ragnarok, from black metal to neo-folk.\|archiveurl=https://web.archive.org/web/20230206115656/https://www.gameshub.com/news/features/stephanie-economou-assassins-creed-valhalla-dawn-of-ragnarok-score-14734/\|archivedate=6 February 2023\|author=Shamaly, Meena\|date=6 February 2023\|publisher=''GamesHub''\|accessdate=11 April 2023}}</ref> {{Wiki\|vielle}}, and cello, to add harmonies and counter-lines. In contrast, the combat themes took from the black metal genre, with percussion, glaring guitar, bass sounds,<ref name="UbisoftInterview"/> and {{Wiki\|tremolo}} {{Wiki\|Guitar picking\|picking}},<ref name="GrammyInterview"/> but still had to meld into the exploration music for when players entered Muspel or ''[[jötnar]]''-held territories even if they were not fighting.<ref name="UbisoftInterview"/> To Economou, this genre also blended well with the unrefined sound from all the old strings she experimented with regardless her proficiency in what she described as her own "clumsily fumbling around while discovering these amazing instruments".<ref name="GamesHubInterview1"/>		The exploration cues had neofolk influences from when Economou would improvise on a {{Wiki\|mandolin}} or {{Wiki\|cigar box guitar}}. From there, she would use more stringed instruments,<ref name="UbisoftInterview"/> specifically the lap harp, {{Wiki\|Viol\|viola da gamba}},<ref name="GrammyInterview">{{Cite web\|url=https://www.grammy.com/news/stephanie-economou-interview-2023-grammys-assassins-creed-valhalla-best-score-soundtrack-video-games-interactive-media\|title=Meet Stephanie Economou, The First-Ever GRAMMY Winner For Best Score Soundtrack For Video Games And Other Interactive Media\|archiveurl=\|archivedate=\|author=Enos, Morgan\|date=24 February 2023\|publisher=''National Academy of Recording Arts and Sciences''\|accessdate=11 April 2023}}</ref> the [[Finland\|Finnish]] {{Wiki\|kantele}},<ref name="GamesHubInterview1">{{Cite web\|url=https://www.gameshub.com/news/features/stephanie-economou-assassins-creed-valhalla-dawn-of-ragnarok-score-14734/\|title=Composer Stephanie Economou breaks down the musical influences of Assassin's Creed Valhalla: Dawn of Ragnarok, from black metal to neo-folk.\|archiveurl=https://web.archive.org/web/20230206115656/https://www.gameshub.com/news/features/stephanie-economou-assassins-creed-valhalla-dawn-of-ragnarok-score-14734/\|archivedate=6 February 2023\|author=Shamaly, Meena\|date=6 February 2023\|publisher=''GamesHub''\|accessdate=11 April 2023}}</ref> {{Wiki\|vielle}}, and cello, to add harmonies and counter-lines. In contrast, the combat themes took from the black metal genre, with percussion, glaring guitar, bass sounds,<ref name="UbisoftInterview"/> and {{Wiki\|tremolo}} {{Wiki\|Guitar picking\|picking}},<ref name="GrammyInterview"/> but still had to meld into the exploration music for when players entered Muspel or ''[[jötnar]]''-held territories even if they were not fighting.<ref name="UbisoftInterview"/> To Economou, this genre also blended well with the unrefined sound from all the old strings she experimented with regardless her proficiency in what she described as her own "clumsily fumbling around while discovering these amazing instruments".<ref name="GamesHubInterview1"/>

	When working in collaboration with Wilderun, their lead guitarist Wayne Ingram introduced Economou to the black metal music by the groups {{Wiki\|Bathory (band)\|Bathory}} from [[Sweden]] and {{Wiki\|Wolves in the Throne Room}} from America, as well as the folk music from the Norse {{Wiki\|Heilung}} to get a better idea of what sounds she wanted the album to emulate.<ref name="UbisoftInterview"/> Wilderun's members then sent her clips of different tempo drum beats, riffs, loops, and vocals like metal {{Wiki\|Death growl\|growls}} and {{Wiki\|Screaming (music)\|screams}} to draw from a "bank" when composing<ref name="UbisoftInterview"/><ref name="LakeshorePodcast"/> or modifying with synths.<ref name="GrammyInterview"/> Another influence used for the album but that was not as prominent included the American {{Wiki\|Heavy metal music\|heavy metal}} group {{Wiki\|System of a Down}}'s 1998 {{Wiki\|~~ystem~~ of a Down (album)\|eponymous debut album}}<ref name="GrammyInterview"/> and Einar's 2016 album ''Skuggsjá'' made in collaboration with {{Wiki\|Ivar Bjørnson}} from the Norwegian {{Wiki\|extreme metal}} group {{Wiki\|Enslaved (band)\|Enslaved}}.<ref name="GamesHubInterview1"/>		When working in collaboration with Wilderun, their lead guitarist Wayne Ingram introduced Economou to the black metal music by the groups {{Wiki\|Bathory (band)\|Bathory}} from [[Sweden]] and {{Wiki\|Wolves in the Throne Room}} from America, as well as the folk music from the Norse {{Wiki\|Heilung}} to get a better idea of what sounds she wanted the album to emulate.<ref name="UbisoftInterview"/> Wilderun's members then sent her clips of different tempo drum beats, riffs, loops, and vocals like metal {{Wiki\|Death growl\|growls}} and {{Wiki\|Screaming (music)\|screams}} to draw from a "bank" when composing<ref name="UbisoftInterview"/><ref name="LakeshorePodcast"/> or modifying with synths.<ref name="GrammyInterview"/> Another influence used for the album but that was not as prominent included the American {{Wiki\|Heavy metal music\|heavy metal}} group {{Wiki\|System of a Down}}'s 1998 {{Wiki\|System of a Down (album)\|eponymous debut album}}<ref name="GrammyInterview"/> and Einar's 2016 album ''Skuggsjá'' made in collaboration with {{Wiki\|Ivar Bjørnson}} from the Norwegian {{Wiki\|extreme metal}} group {{Wiki\|Enslaved (band)\|Enslaved}}.<ref name="GamesHubInterview1"/>

	By her own admission, Economou says she too often tends to "hide things in {{Wiki\|Reverberation\|reverb}} and drown them in very wet spaces", resulting in pieces acquiring an airy, dream-like quality that is not always intended. When writing the track "In Memory of a Very Fine Smithy" that plays during [[Sindri]]'s funeral in the memory "[[Forging Bonds]]", the production team told her she could use reverb as much as she wanted. To her, this cue was the perfect place for that echoing effect since it was about mournfully reminiscing one of the [[Dwarf\|dwarves]]' great craftsmen rather than indicating that players had entered a dream world to roam. Fittingly, the cue takes the dwarves' theme from the track "Svartalfheim", representing their homeland, and cycles it through different instruments, particularly the {{Wiki\|Bukkehorn\|ram's horn}} that plays solo. Initially, though, this track was too fast and "informative", requiring a few re-writes until she was happy that it eased listeners into the sadness instead of musically {{wiki\|Show, don't tell\|telling}} them this was supposed to be emotional.<ref name="LakeshorePodcast"/>		By her own admission, Economou says she too often tends to "hide things in {{Wiki\|Reverberation\|reverb}} and drown them in very wet spaces", resulting in pieces acquiring an airy, dream-like quality that is not always intended. When writing the track "In Memory of a Very Fine Smithy" that plays during [[Sindri]]'s funeral in the memory "[[Forging Bonds]]", the production team told her she could use reverb as much as she wanted. To her, this cue was the perfect place for that echoing effect since it was about mournfully reminiscing one of the [[Dwarf\|dwarves]]' great craftsmen rather than indicating that players had entered a dream world to roam. Fittingly, the cue takes the dwarves' theme from the track "Svartalfheim", representing their homeland, and cycles it through different instruments, particularly the {{Wiki\|Bukkehorn\|ram's horn}} that plays solo. Initially, though, this track was too fast and "informative", requiring a few re-writes until she was happy that it eased listeners into the sadness instead of musically {{wiki\|Show, don't tell\|telling}} them this was supposed to be emotional.<ref name="LakeshorePodcast"/>

← Older revision		Revision as of 17:55, 30 March 2024
Line 176:		Line 176:
	The "Elderstahl" referenced in the final track is presumably the name of Surtr's sword, even though no such name exists in Norse literature and [[Juno\|Hyrrokin]] refers to the blade as "the Twilight Sword" in the memory "[[The Reckoning]]". Instead, it comes from the 2011 {{Wiki\|direct-to-video}} film ''[[w:c:marvelanimated:Thor: Tales of Asgard (Video)\|Thor: Tales of Asgard]]'' that was part of the ''{{Wiki\|Marvel Animated Features}}'' series by {{Wiki\|Marvel Animation}} and {{Wiki\|Lions Gate Entertainment}}. In the movie, the character {{Wiki\|Surtur (character)\|Surtur}} wielded the blade [[w:c:marvelanimated:Elderstahl (Yost Universe)\|Elderstahl]] in a fatal duel with Odin for the fate of the Nine Realms. After the All-Father slew him with his [[spear]] [[Gungnir]], the sword was lost to time and became a legendary item sought for by young heroes like [[w:c:marvelanimated:Thor (Yost Universe)\|Thor]] to prove their worth.		The "Elderstahl" referenced in the final track is presumably the name of Surtr's sword, even though no such name exists in Norse literature and [[Juno\|Hyrrokin]] refers to the blade as "the Twilight Sword" in the memory "[[The Reckoning]]". Instead, it comes from the 2011 {{Wiki\|direct-to-video}} film ''[[w:c:marvelanimated:Thor: Tales of Asgard (Video)\|Thor: Tales of Asgard]]'' that was part of the ''{{Wiki\|Marvel Animated Features}}'' series by {{Wiki\|Marvel Animation}} and {{Wiki\|Lions Gate Entertainment}}. In the movie, the character {{Wiki\|Surtur (character)\|Surtur}} wielded the blade [[w:c:marvelanimated:Elderstahl (Yost Universe)\|Elderstahl]] in a fatal duel with Odin for the fate of the Nine Realms. After the All-Father slew him with his [[spear]] [[Gungnir]], the sword was lost to time and became a legendary item sought for by young heroes like [[w:c:marvelanimated:Thor (Yost Universe)\|Thor]] to prove their worth.

	The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in ~~[[Snorri Sturluson]]'s 13th century text,~~ the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.		The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in the anonymously-written ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.

	Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] [[Egil Skallagrimsson]]'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's ~~other work~~, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".		Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] [[Egil Skallagrimsson]]'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".

	The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.		The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.

← Older revision		Revision as of 18:12, 19 August 2023
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	The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.		The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.

	Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] ~~{{Wiki\|Egill Skallagrímsson}}~~'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".		Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] [[Egil Skallagrimsson]]'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".

	The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.		The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.

← Older revision		Revision as of 07:45, 3 June 2023
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	The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.		The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.

	Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] {{Wiki\|Egill Skallagrímsson}}'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''. The piece plays in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".		Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] {{Wiki\|Egill Skallagrímsson}}'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''. The piece plays distantly in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".

	The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.		The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.

← Older revision		Revision as of 07:35, 3 June 2023
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	The "Elderstahl" referenced in the final track is presumably the name of Surtr's sword, even though no such name exists in Norse literature and [[Juno\|Hyrrokin]] refers to the blade as "the Twilight Sword" in the memory "[[The Reckoning]]". Instead, it comes from the 2011 {{Wiki\|direct-to-video}} film ''[[w:c:marvelanimated:Thor: Tales of Asgard (Video)\|Thor: Tales of Asgard]]'' that was part of the ''{{Wiki\|Marvel Animated Features}}'' series by {{Wiki\|Marvel Animation}} and {{Wiki\|Lions Gate Entertainment}}. In the movie, the character {{Wiki\|Surtur (character)\|Surtur}} wielded the blade [[w:c:marvelanimated:Elderstahl (Yost Universe)\|Elderstahl]] in a fatal duel with Odin for the fate of the Nine Realms. After the All-Father slew him with his [[spear]] [[Gungnir]], the sword was lost to time and became a legendary item sought for by young heroes like [[w:c:marvelanimated:Thor (Yost Universe)\|Thor]] to prove their worth.		The "Elderstahl" referenced in the final track is presumably the name of Surtr's sword, even though no such name exists in Norse literature and [[Juno\|Hyrrokin]] refers to the blade as "the Twilight Sword" in the memory "[[The Reckoning]]". Instead, it comes from the 2011 {{Wiki\|direct-to-video}} film ''[[w:c:marvelanimated:Thor: Tales of Asgard (Video)\|Thor: Tales of Asgard]]'' that was part of the ''{{Wiki\|Marvel Animated Features}}'' series by {{Wiki\|Marvel Animation}} and {{Wiki\|Lions Gate Entertainment}}. In the movie, the character {{Wiki\|Surtur (character)\|Surtur}} wielded the blade [[w:c:marvelanimated:Elderstahl (Yost Universe)\|Elderstahl]] in a fatal duel with Odin for the fate of the Nine Realms. After the All-Father slew him with his [[spear]] [[Gungnir]], the sword was lost to time and became a legendary item sought for by young heroes like [[w:c:marvelanimated:Thor (Yost Universe)\|Thor]] to prove their worth.

	The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud~~, and the piece plays distantly in the background when Odin fights phantasms of [[Glöð]], Calder, [[Malvigr]], and Sinmara in the memory "Pride of the Aesir"~~.		The lyrics for "Frigg Wept" come from stanzas 31–33 of the introductory ''{{Wiki\|Völuspá}}'' poem in [[Snorri Sturluson]]'s 13th century text, the ''{{Wiki\|Poetic Edda}}''. The [[Dwarf\|dwarven]] bard in [[Hodda Shelter]] can occasionally be heard singing it aloud.

	Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] {{Wiki\|Egill Skallagrímsson}}'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''.		Most of the lyrics for "Grieving Baldr" are from the 10th century {{Wiki\|skaldic poem}} ''{{Wiki\|Sonatorrek}}'', which laments the deaths of the [[Vikings\|Viking]] {{Wiki\|Egill Skallagrímsson}}'s two sons. The verses here use stanza 1, the second half of stanza 4, and stanza 25. The chorus parts are verse 49 of the ''{{Wiki\|Gylfaginning}}'' poems in Snorri Sturluson's other work, the ''{{Wiki\|Prose Edda}}''. The piece plays in the background when Odin fights phantasms of Glöð, Calder, Malvigr, and Sinmara in the memory "Pride of the Aesir".

	The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.		The lyrics for "Surtr" come from two different passages in the {{Wiki\|Edda}}s. The first verse and its repeated fragment are an excerpt from chapter 51 of the ''Prose Edda''{{'}}s ''Gylfaginning'', while the second verse and its fragment are stanza 52 from the ''Poetic Edda''{{'}}s ''Völuspá'', which is also cross-referenced in the ''Gylfaginning''.