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

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
Line 1:		Line 1:
	{{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.''

imported>Darman36: /* Track listing */

2023-04-11T14:25:14Z

Track listing

← Older revision		Revision as of 16:25, 11 April 2023
Line 25:		Line 25:

	==Composition==		==Composition==
	In a podcast episode with Lakeshore Records, Economou explained that as someone who had played games like ''{{Wiki\|Halo (franchise)\|Halo}}'' and ''{{Wiki\|Max Payne}}'' long before she was composing, she knew from experience that players were incredibly attuned to the music of their games. ~~Unlike in~~ a film, where the score is maybe a few hours with a set start and end point, video games have cues that repeat many times when someone plays, allowing them to pick up small details every time they turn on their game system. When she wrote the album, she wanted to make it just as memorable for listeners as other scores by [[Jesper Kyd]] and [[Sarah Schachner]] that were regularly praised in YouTube comments sections.<ref name="LakeshorePodcast">{{Cite web\|url=https://open.spotify.com/episode/2igx1pGt8b9apixpNs1OEq\|title=Stephanie Economou Talks Scoring Assassin's Creed Valhalla: Dawn of Ragnarök, and More\|author=Lakeshore Records\|date=December 2022\|publisher=''Spotify''\|accessdate=11 April 2023}}</ref>		In a podcast episode with Lakeshore Records, Economou explained that as someone who had played games like ''{{Wiki\|Halo (franchise)\|Halo}}'' and ''{{Wiki\|Max Payne}}'' long before she was composing, she knew from experience that players were incredibly attuned to the music of their games. In contrast to a film, where the score is maybe a few hours with a set start and end point, video games have cues that repeat many times when someone plays, allowing them to pick up small details every time they turn on their game system. When she wrote the album, she wanted to make it just as memorable for listeners as other scores by [[Jesper Kyd]] and [[Sarah Schachner]] that were regularly praised in YouTube comments sections.<ref name="LakeshorePodcast">{{Cite web\|url=https://open.spotify.com/episode/2igx1pGt8b9apixpNs1OEq\|title=Stephanie Economou Talks Scoring Assassin's Creed Valhalla: Dawn of Ragnarök, and More\|author=Lakeshore Records\|date=December 2022\|publisher=''Spotify''\|accessdate=11 April 2023}}</ref>

	Unlike when Economou wrote the soundtrack for ''The Siege of Paris'', which required her to research medieval [[Francia\|Frankish]] instruments and how to play them, ''Dawn of Ragnarök'' returned to ''Valhalla''{{'}}s more mythical element that had no reality to base it in aside from Old Norse texts. However, she said in an interview that the writing revealed a different side of herself and her artistic processes. While Economou still made use of her experience with the {{Wiki\|Talharpa\|tagelharpa}} from when she wrote [[Assassin's Creed: Valhalla soundtrack\|''Valhalla''{{'}}s albums]], the creative team had discussed with her the idea of using the {{Wiki\|Early Norwegian black metal scene\|Norwegian style}} of {{Wiki\|black metal}} for the cues.<ref name="UbisoftInterview">{{Ubisoft\|url=en-us/article/cVPhV6tFJ8vO09LdQcALr/composing-assassins-creed-valhalla-dawn-of-ragnarks-mythic-score\|text=Composing Assassin's Creed Valhalla: Dawn of Ragnarök's Mythic Score\|archivedate=20220511113847\|subdomain=news}}</ref><ref name="LakeshorePodcast"/>		Unlike when Economou wrote the soundtrack for ''The Siege of Paris'', which required her to research medieval [[Francia\|Frankish]] instruments and how to play them, ''Dawn of Ragnarök'' returned to ''Valhalla''{{'}}s more mythical element that had no reality to base it in aside from Old Norse texts. However, she said in an interview that the writing revealed a different side of herself and her artistic processes. While Economou still made use of her experience with the {{Wiki\|Talharpa\|tagelharpa}} from when she wrote [[Assassin's Creed: Valhalla soundtrack\|''Valhalla''{{'}}s albums]], the creative team had discussed with her the idea of using the {{Wiki\|Early Norwegian black metal scene\|Norwegian style}} of {{Wiki\|black metal}} for the cues.<ref name="UbisoftInterview">{{Ubisoft\|url=en-us/article/cVPhV6tFJ8vO09LdQcALr/composing-assassins-creed-valhalla-dawn-of-ragnarks-mythic-score\|text=Composing Assassin's Creed Valhalla: Dawn of Ragnarök's Mythic Score\|archivedate=20220511113847\|subdomain=news}}</ref><ref name="LakeshorePodcast"/>
Line 37:		Line 37:
	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"/>

	While Economou prefers to keep changing the tempos and meters in every track in order to not be stagnant,<ref name="LakeshorePodcast"/> writing the final cue "Odin vs. the Elderstahl" proved difficult for her and was also re-written many times. She was at first uncertain how much intensity to put in it, especially after players would have already finished two major fight sequences, one with [[Calder]] in the memory "[[The Vault of the Ancients]]" and the other with [[Sinmara]] in "[[Pride of the Aesir]]". Its first draft had a fast tempo, but she found that rather than musically evoking action, it instead lacked impact for a final battle to decide the fate of the [[Nine Realms\|realm]] Svartalfheim.<ref name="UbisoftInterview"/> She re-wrote it into three sub-parts and drastically slowed it down to a more lumbering, domineering quality at 90 beats-per-minute instead of 140,<ref name="LakeshorePodcast"/> reasoning that Surtr would not be nimble but large and terrifying as a representation of Ragnarök's inevitability.<ref name="UbisoftInterview"/> Indeed, throughout the expansion, a descending black metal riff by Wilderun on distorted guitar with accompanying vocals can be heard and is used to represent Surtr's commanding and terrifying presence, whether metaphorically in his plans for Svartalfheim or ~~physically~~ when he actually appeared.<ref name="GamesHubInterview2">{{Cite web\|url=https://www.gameshub.com/news/features/stephanie-economou-interview-grammy-awards-2023-assassins-creed-valhalla-dawn-of-ragnarok-2606944/\|title=Stephanie Economou talks Grammy win and the future of game music\|archiveurl=https://web.archive.org/web/20230217000613/https://www.gameshub.com/news/features/stephanie-economou-interview-grammy-awards-2023-assassins-creed-valhalla-dawn-of-ragnarok-2606944/\|archivedate=17 February 2023\|author=Tran, Edmond\|date=15 February 2023\|publisher=''GamesHub''\|accessdate=11 April 2023}}</ref>		While Economou prefers to keep changing the tempos and meters in every track in order to not be stagnant,<ref name="LakeshorePodcast"/> writing the final cue "Odin vs. the Elderstahl" proved difficult for her and was also re-written many times. She was at first uncertain how much intensity to put in it, especially after players would have already finished two major fight sequences, one with [[Calder]] in the memory "[[The Vault of the Ancients]]" and the other with [[Sinmara]] in "[[Pride of the Aesir]]". Its first draft had a fast tempo, but she found that rather than musically evoking action, it instead lacked impact for a final battle to decide the fate of the [[Nine Realms\|realm]] Svartalfheim.<ref name="UbisoftInterview"/> She re-wrote it into three sub-parts and drastically slowed it down to a more lumbering, domineering quality at 90 beats-per-minute instead of 140,<ref name="LakeshorePodcast"/> reasoning that Surtr would not be nimble but large and terrifying as a representation of Ragnarök's inevitability.<ref name="UbisoftInterview"/> Indeed, throughout the expansion, a descending black metal riff by Wilderun on distorted guitar with accompanying vocals can be heard and is used to represent Surtr's commanding and terrifying presence, whether metaphorically in his plans for Svartalfheim or when he actually appeared.<ref name="GamesHubInterview2">{{Cite web\|url=https://www.gameshub.com/news/features/stephanie-economou-interview-grammy-awards-2023-assassins-creed-valhalla-dawn-of-ragnarok-2606944/\|title=Stephanie Economou talks Grammy win and the future of game music\|archiveurl=https://web.archive.org/web/20230217000613/https://www.gameshub.com/news/features/stephanie-economou-interview-grammy-awards-2023-assassins-creed-valhalla-dawn-of-ragnarok-2606944/\|archivedate=17 February 2023\|author=Tran, Edmond\|date=15 February 2023\|publisher=''GamesHub''\|accessdate=11 April 2023}}</ref>

	==Track listing==		==Track listing==
	#Assassin's Creed Dawn of Ragnarök (Main Theme) [feat. Einar Selvik] - 3:19		#Assassin's Creed Dawn of Ragnarök (Main Theme) [feat. Einar Selvik] - 3:19
	#[[~~Dwarf~~\|Old Friends]] and Gentle Jailers (feat. Ari Mason) - 2:27		#[[Ivaldi\|Old Friends]] and Gentle Jailers (feat. Ari Mason) - 2:27
	#Wrath of [[Múspellsheimr\|Muspelheim]] - 2:14		#Wrath of [[Múspellsheimr\|Muspelheim]] - 2:14
	#Ghost in the Shadows - 1:19		#Ghost in the Shadows - 1:19

imported>Darman36: Added composition info! Also expanded intro/background a bit, added lyrics for 3-track EP, and Behind the Scenes

2023-04-11T14:15:32Z

Added composition info! Also expanded intro/background a bit, added lyrics for 3-track EP, and Behind the Scenes

Show changes

← 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
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''.

← 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''.

← 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''.