French Folk Band SKÁLD Release Third Single “Dǫkksalir”

FRENCH FOLK BAND SKÁLD RELEASE THIRD SINGLE “Dǫkksalir” — WATCH THE LYRIC VIDEO HERE!

NEW ALBUM, ØRLǪG, WILL BE RELEASED THIS FRIDAY, SEPTEMBER 25, 2026 VIA NAPALM RECORDS — PRE-ORDER NOW!

WARRIOR CHANT TOUR AS SPECIAL GUEST FOR THE HU KICKS OFF SEPTEMBER 29!

French dark folk entity SKÁLD release “Dǫkksalir,” unveiling gentle melodies that unfold almost like a lullaby—perfectly fitting the concept of the enchanting yet frightening sirens lurking in the dark.

The song is taken from the band’s upcoming full-length album, Ørlǫg, which will be released this Friday, September 25, 2026. Ørlǫg marks SKÁLD’s first release via Napalm Records and awakens ancient spirits as the band extends an invitation into times long gone but not forgotten.

Right in time to bring their new music to stages across Europe and the United Kingdom, SKÁLD are set for a major autumn UK/EU arena tour supporting The Hu, kicking off on September 29 in Glasgow.

SKÁLD about “Dǫkksalir”:
“‘Dokksalir’ draws us into the dark depths of the sea; in the distance, the sirens’ song calls to us, yet also terrifies us; mischievous spirits watch us and laugh at us; they already know we will be weak; the light no longer protects us; down below, eyes stare at you — perhaps it is you yourself watching yourself lose your way. Those siren voices are so beautiful.”

As the Norns weave our future, this album is a fascinating passageway into our pristine origins and the consequences of our choices. Ten new songs as stepping stones, Ørlǫg is an offering to listen, to dwell, to reflect—and to find something within yourself previously unknown. SKÁLD don’t just play music, they awaken ancient ways.

A staple band in the neofolk genre, SKÁLD deliver a striking work of art with their latest album, deferentially using their sources to keep old spirits alive and form the enchanting world of Ørlǫg. The language might sound unfamiliar, but the music still touches the soul.

SKÁLD about Ørlǫg:
“Ørlǫg is the cosmic web that influences the world and every person. Part of our Ørlǫg is determined by our birth, our past actions, and our upbringing, but Ørlǫg is not set in stone; our daily choices are constantly shaping it. What we do now and what we have done in the past determines what will happen to us in the future; we cannot escape the consequences of our actions. This album makes us question our choices — both individual and collective — and the patterns we accept or reject. The Norns weave our destiny, but we can take control of certain things: Travel, ride worlds, and grow. Each song on this album describes a situation, a place, a choice to be made. Let’s take hold of our Ørlǫg.”

The atmospheric journey to claim direction starts within the dreamscapes of “Draumakona”, an expressive look at the female side of shamanic prophecy. The French band constructs their Nordic folk melodies to be particularly catchy, shifting powerfully between female lead singing and multilayered vocal arrangements to create an antiphony between individuum and community.

Inspired by Skaldic poetry, SKÁLD use instruments fitting of the time: Ørlǫg is shaped by Nordic fiddles, different forms of harps and lyres, horns, kannels, and whistles, among others, as well as three lead vocalists to bring the arrangements to life. “Myrkviðr” picks up on the opening track’s persuasive energy, with male vocals taking the lead this time. Further spreading their message is “Ratatoskr,” intonated by clattering sounds and throat singing, channeled into hauntingly repetitive chants of the eponymous squirrel’s name. “Útgarðr” contrasts the different voices compellingly by the passages being sung simultaneously with alternating focus and a goosebump-inducing climax—instantly opposed by “Ek skald rida,” which makes use of similar techniques, but is the most tranquil track on the album. “Himinbjǫrg” reaches far out to the edge of Asgard, where Heimdall guards the rainbow bridge, Bifröst. SKÁLD lend him an assertive voice, so the song serves as an emphatic yet reassuring guide through our sometimes-clouded destiny. “Heiemo og Nykkjen,” a rendition of a traditional medieval folk ballad from what is now Norway, takes a more provident approach to both instrumentation and vocal delivery, while “Veit barnit” calls upon the knowledge of children and uses a child’s voice alongside their usual harmonies to reflect that. The grim finale, “Eldr ok iss,” which is Old Norse for “fire and ice, “again calls on contrasts as well as referencing part of the creation myth in which the primordial being Ymir emerged from Muspelheim — the realm of fire — colliding with icy Nilfheim in the beginning of times. SKÁLD build an appropriate arc of suspense with a formidably sinister atmosphere.