Månegarm: ‘Edsvuren’ and New Single Set the Tone for Anniversary Gathering in Norrtälje

An oath, once sworn, binds the soul. It is a declaration of intent, a promise sealed not just in words but in will. For Månegarm, the Swedish Viking metal pioneers now entering their thirtieth year, this concept has become the very heart of their next chapter. Their forthcoming twelfth studio album, set for release on August 29, 2025, is titled Edsvuren—’The Sworn.’ It is a name that feels less like a title and more like a creed, a deliberate and powerful reaffirmation of the artistic vows they first took in the mid-1990s. This is not merely an anniversary album; it is a recommitment to the “blood oath” that has long defined their sound: a potent and often volatile fusion of Viking lore, black metal ferocity, and ancient folk melody.

The album arrives with a dual summons, announced through two initial singles that, together, map the vast territory the band has claimed as its own. The first, ‘Hör mitt kall’ (‘Hear My Call’), is a broad, outward-facing declaration. Described by the band as a “desperate summoning of ancestral voices buried in root and soil,” it is a track that looks back in two directions simultaneously. It channels the spirits of a mythological past while also paying direct homage to the classic heavy metal that first inspired them to make music. It is a universal anthem for their global following, a bridge between ancient heritage and their own musical roots.

In stark contrast, the second single, ‘I skogsfruns famn’ (‘In the Forest-Wife’s Embrace’), is an intimate, inward-looking narrative. The song is rooted not in the grand sweep of the Eddas but in a specific local legend, a story said to have unfolded just a few miles from their lifelong home of Norrtälje, Sweden. This deliberate choice reveals a sophisticated understanding of their own artistic identity.

By pairing a pan-Norse, metal-worshipping anthem with a hyper-local ghost story, Månegarm establishes the parameters of their world. They are masters of the epic saga, comfortable on the battlefields of myth, but they remain deeply, unshakeably rooted in the soil under their own feet. It is from this small town, north of Stockholm, that a modern saga, three decades in the making, continues to emanate, its call more resonant than ever.

Månegarm: A Saga Forged in Ice and Fire

Like many sagas in the annals of metal, Månegarm’s origin is one of raw, youthful energy. It was 1995 in the unassuming town of Norrtälje when a circle of friends united with a singular, ferocious goal: to create metal at its most “fast and primitive,” sung entirely in their native Swedish tongue. Operating initially as Antikrist, they forged their first sounds in the crucible of the era’s burgeoning Scandinavian black metal movement, establishing a foundation of pure, icy aggression from which their legacy would grow.

But their vision quickly expanded. A name change to Månegarm, after the mythological wolf that pursues the moon in Norse lore, signaled a thematic shift toward their Viking heritage. The true turning point, however, arrived with their second demo, 1997’s ‘Ur Nattvindar.’ It was here that the band made a decision that would not only define their own sound but also help write the blueprint for an entire subgenre.

For the first time, they incorporated the mournful cry of a violin and the ethereal timbre of female vocals into their music. This was not a gimmick; it was an act of profound artistic synthesis that gave their music a distinctly “Nordic touch” and positioned them as pioneers in the nascent folk and Viking metal movements.

This evolution was not a rejection of their black metal origins but a complex integration. They did not abandon the visceral aggression of their early days; instead, they began to weave it into a richer, more emotionally resonant tapestry. This journey of synthesis, rather than replacement, is what distinguishes Månegarm from many of their peers and is central to their enduring identity. The ferocity remained, but it was now tempered with moments of ancient beauty and melodic sorrow.

Their path was not without hardship. The early years were marked by a revolving door of vocalists and persistent issues with record labels and studios, which at one point delayed the recording of their second album, ‘Havets Vargar’ (‘Wolves of the Sea’). It was during this tumultuous period that a crucial moment of consolidation occurred: after firing their singer mid-session, drummer Erik Grawsiö stepped up to take over vocal duties, a role he has held ever since.

This history of overcoming adversity forged a resilient and self-reliant core. The band that weathered these storms—changing labels from Displeased to Black Lodge to Regain Records and finally to their current home at Napalm Records—was one built to last.

The definitive sonic shift came with their third full-length album, ‘Dödsfärd’ (‘Death Journey’), in 2003. It was on this record that the balance tipped decisively. The music evolved from being primarily black metal-oriented to a groovier, more melodic, and unapologetically “folky” sound. The violin and clean vocal passages, once supporting elements, moved to the forefront, creating the signature Månegarm sound that would bring them a surge in popularity and define their work for the next two decades. Albums like ‘Vredens Tid’ (‘The Age of Wrath’) (2005) and ‘Vargstenen’ (‘The Wolf Stone’) (2007) perfected this marriage of “black metal ferocity and native folk music,” earning them critical acclaim and a devoted international following.

Today, the lineup is a stable and formidable trio: Erik Grawsiö, now handling vocals and bass; long-serving guitarist Markus Andé, the only member to play on every album; and drummer Jakob Hallegren, who joined in 2008. It is this unit that has carried the band’s legacy forward, and it is this unit that now stands ready to deliver ‘Edsvuren,’ an album whose title feels deeply earned by a history of perseverance and unwavering commitment to a singular artistic vision.

The Lore-Keepers: Sagas, Soil, and Sound

Månegarm’s music serves a purpose beyond artistic expression; it functions as a form of cultural preservation. The band’s approach to lyrical content resists the genre’s familiar tropes—eschewing caricatures of horned helmets and drinking horns—in favor of historically grounded narratives. Their recent albums reveal a deliberate effort to engage with Norse mythology and Scandinavian heritage through a lens that is both respectful and informed.

This is particularly evident in their 2022 release, ‘Ynglingaättens Öde’ (‘The Fate of the Ynglinga Dynasty’), a concept album based on the Old Norse poem Ynglingatal. It chronicles the lives and often mysterious deaths of Swedish kings who claimed divine descent from the god Freyr, drawing from primary mythological sources with methodical care.

Prior to that, 2019’s Fornaldarsagor took its inspiration from the legendary sagas—a category of Norse literature long viewed with skepticism for its supernatural content. Månegarm’s stated aim was to bring listeners “as close to the Norse saga and myth tradition as possible,” presenting these narratives as cultural artefacts rather than fantasy.

In a cultural moment when such traditions risk receding from public memory, the band regards its work as an act of remembrance. As vocalist and bassist Erik Grawsiö has noted, their intent is to “keep history alive” by drawing attention to preserved mythological material. Through this lens, the band positions itself as a modern-day skaldic ensemble—transmitters of ancestral knowledge via metal.

This connection to heritage is not merely conceptual but deeply personal. Månegarm regularly collaborates with trusted musicians such as vocalist Ellinor Videfors and violinist Martin Björklund, but the most intimate contributions emerge from within Grawsiö’s own family. His daughter, Lea Grawsiö Lindström, has provided vocals on several records, including the new album ‘Edsvuren,’ while his other daughter, Tuva, has appeared in the band’s visual work.

Rather than novelty, these contributions reflect a generational continuity—an extension of the band’s themes into lived experience. Heritage, for Månegarm, is not symbolic but embodied, woven directly into their creative process. When Grawsiö speaks of this collaboration, it is with the perspective of both a musician and a father witnessing a legacy take root.

Their dedication to this ethos is echoed in their sonic palette. The enduring presence of traditional instruments like the violin and flute—even after the 2012 departure of long-time violinist Janne Liljeqvist—signals a consistent commitment to the “Nordic touch” they helped pioneer in the late 1990s. It remains a defining element of their sound, linking the band’s early recordings to the creative oath reaffirmed in ‘Edsvuren.’

A First Reading of ‘Edsvuren’

‘Edsvuren’ arrives as a definitive statement, an album the band themselves have described as showcasing “every corner of the Månegarm music spectrum.” The initial glimpses suggest a record of immense diversity, a curated journey through the various landscapes of their sound, from “pensive and dreamy atmospheric monsters” to rousing “songs for a proper mead binge.” This is not just a collection of songs but a narrative arc designed to encapsulate their entire history and emotional range within a single, powerful work.

The album’s visual dimension, revealed through its first two music videos, reinforces this sense of scope and purpose. The video for ‘Hör mitt kall,’ directed by Stefan Nikodeamus Källström, is a haunting and powerful piece that focuses on the raw, unadulterated energy of the band’s performance. It captures the classic heavy metal spirit that the song invokes, a direct and forceful appeal to the listener.

In contrast, the video for the opening track, ‘I skogsfruns famn,’ is a far more cinematic affair. Produced by Svartna Film and hailed by the band as their “coolest and rawest Månegarm video to date,” it brings the local myth of the Skogsfru, a seductive and dangerous forest spirit, to visceral life. The visuals are epic and groovy, grounding the supernatural tale in the tangible, misty forests of their homeland.

The album’s tracklist hints at a carefully paced experience. The raw, mythic aggression of ‘I skogsfruns famn,’ which features vocals from Lea Grawsiö Lindström, serves as a powerful entry point. Songs like ‘Till gudars följe’ are described as warm and inviting, crafted to transport the listener to a Viking longhouse, mead horn in hand, ready to join in resonant chants. This celebratory mood is balanced by the darkness of tracks like ‘Likgökens fest’ (‘The Corpse-Cuckoo’s Feast’), which unleashes the “hypnotic black metal influence” wielded by guitarist Markus Andé and drummer Jakob Hallegren.

The album also makes space for moments of profound, epic devotion, as in the lengthy ‘Skild från hugen,’ which showcases the full emotional range of Erik Grawsiö’s voice. A key highlight promises to be the title track, ‘Edsvuren,’ which introduces a new guest vocalist, Liv Hope Lenard, in what is described as one of the album’s most breathtaking moments.

To bring this anniversary statement to life, the band turned to a team of long-time collaborators, a decision that highlights their desire for a pure, undiluted representation of their vision. The album was recorded and mixed by Pelle Saether at Studio Underground and mastered by Sverker Widgren, both familiar figures in the band’s history. The epic cover artwork was once again created by the renowned artist Kris Verwimp, who has illustrated several of their past albums. By surrounding themselves with this trusted creative circle, Månegarm ensured that their 30-year declaration would be forged without compromise, a final layer of authenticity in their sworn oath.

This reverence for their own history is mirrored by a nod to their influences. The deluxe editions of ‘Edsvuren’ include two telling cover songs: ‘As Long As Winds Will Blow’ by their German Viking metal peers Falkenbach, and ‘Flight of Icarus’ by the legendary Iron Maiden. This choice powerfully acknowledges both the genre they helped build and the foundational heavy metal that built them, bringing the album’s themes full circle.

The Månegarm Open Air Festival

The clearest expression of Månegarm’s legacy and ethos is found closer to home. The Månegarm Open Air, a festival curated and headlined by the band themselves, has become a pilgrimage for their dedicated followers.

Held in their hometown of Norrtälje at the historic Pythagoras industrial park, the event is a direct manifestation of the band’s roots and community. The 2025 edition features a bill led by fellow genre innovators Borknagar, Gåte, Thyrfing, and Saor, alongside a strong supporting roster that includes Hindarfjäll, Utmarken, Fredlös, This Ending, Vanquisher, Wolfcross, Kullaeir, and Svitjod.

This is not the faceless sprawl of corporate festival culture; fans describe it as a uniquely intimate experience, where the band members are known to walk among the crowd, sharing beers and stories. It is here, on their own soil, that they connect most directly with the people who have sustained them.

In a masterstroke of symbolic power, the 2025 edition of Månegarm Open Air is scheduled for August 29th and 30th, serving as both a 30th-anniversary celebration and the official release party for ‘Edsvuren.’ The festival’s opening day coincides exactly with the album’s worldwide release.

This is the oath fulfilled. It is a moment that brings their entire three-decade journey full circle, celebrating their storied past while unleashing their vital present. On that day, in their hometown, surrounded by their global tribe and musical brethren, Månegarm will not just release an album; they will embody it. The wolf that first howled from the forests of Norrtälje in 1995 stands proudly on the horizon, its call to the north as potent and steadfast as ever.

The Call of the Road

After three decades of dedication, Månegarm occupies a unique and respected position in the worldwide metal community. They are widely regarded as pioneers, yet they are also frequently described as “unsung heroes” or an “overlooked” gem within the genre. For some critics, their remarkable consistency, particularly on recent albums like 2022’s ‘Ynglingaättens Öde,’ has occasionally been interpreted as playing it “safe” or even “stagnant.” But for their fiercely loyal international fanbase, this steadfast adherence to their core sound is not a weakness but their greatest strength—a guarantee of heartfelt, passionate music that avoids the “cheese” that can sometimes plague the genre.

‘Edsvuren,’ with its explicit goal of showcasing their full artistic spectrum and its direct nods to their classic metal roots, feels like a confident and definitive answer to this debate, a musical argument that their consistency stems from a rich, deeply understood identity, not a lack of ideas.

Their enduring vitality is most evident on the live stage. The band is set to embark on a series of high-profile dates in 2025, proving their continued relevance and draw across the world. Their tour schedule is a testament to their standing, featuring appearances at the genre’s most revered gatherings.

They will take the stage at Germany’s Wacken Open Air, an event that began in a gravel pit in 1990 and has since ballooned into a global pilgrimage, the undisputed holy land for over 85,000 metal fans. They will also appear at the more intimate Dark Troll Festival, a celebrated event held in the atmospheric ruins of a medieval German castle, known for its focus on pagan and black metal and its distinct, family-like community.

Across the border in France, they join the lineup of Hellfest, a titan of the European circuit that rose from the ashes of Furyfest in 2006 to become a colossal multi-stage spectacle, its rebellious identity forged in defiance of public controversy. Demonstrating their reach far beyond the continent, the tour also includes a headlining show in Mexico City, a clear sign of a band still very much in its prime, commanding stages on an international scale.

Conclusion

Thirty years on, Månegarm is not merely a band; it is a living saga. Their journey, from the primitive black metal impulses of 1995 to the sweeping, folk-infused epics of today, has been one of profound synthesis. They have managed a rare feat in heavy music: to evolve without betraying their origins, to expand their sound while deepening their roots.

‘Edsvuren’ is not just their twelfth album but the culmination of this process—a reaffirmation of the oath that has always guided them. It is an oath to their heritage, evident in their scholarly dedication to the Norse sagas; an oath to their sound, blending savage ferocity with haunting melody; and an oath to their home, drawing as much from local myth as from grand mythology.

Nowhere is this oath more powerfully fulfilled than at the Månegarm Open Air festival. It is more than a concert; it is a homecoming. By gathering their peers and followers in Norrtälje, they transform their music from a recording into a communal rite. The decision to align the release of ‘Edsvuren’ with this hometown celebration is a masterstroke of symbolic power, the moment the abstract promise of the music becomes a tangible, shared experience.

In their hometown, surrounded by their global tribe and musical brethren, Månegarm will not just release an album; they will embody it. The wolf that first howled from the forests of Norrtälje three decades ago stands proudly on the horizon, its call to the north as potent and steadfast as ever.