Eivør: Tungl, the Moon, and a Career Spent Outside the Lines-The interview. By Mark J.

Eivør Pálsdóttir grew up in Syðrugøta, on the Faroese island of Eysturoy. She was on Faroese television at thirteen. At fifteen, she was fronting Clickhaze, and her self-titled solo debut followed in 2000. That first record was traditional Faroese ballads set to jazz, and it was the last time she stayed inside one frame. 

Larva (2010) went experimental and rock-leaning, Room (2012) turned to lush chamber pop, and the 2015 pair Bridges and Slør pushed into electronics. 

Slør set ancestral melodies against avant-pop arrangements and stark throat singing. Segl followed in 2020 and Enn in 2024. By the time she signed to Nuclear Blast, she had eleven albums behind her. 

Her screen work is how much of the world found her. Composer John Lunn built the theme for The Last Kingdom after seeing online footage of her performing “Trøllabundin,” a song she wrote in 2004. She sang for Bear McCreary on 2018’s God of War, performing the theme with a live orchestra at Sony’s E3 press conference in 2016, and returned for God of War Ragnarök in 2022. In 2021, she won the Nordic Council Music Prize. 

Live, she has built a reputation on stages that don’t suit a quiet singer. She opened Heilung’s North American tour in 2022, then headlined theatres and concert halls across Europe and North America on the Enn tour in 2024, with festival slots at Roskilde and G! Festival in the Faroe Islands. 

Her résumé also includes Hellfest and Resurrection Fest. She took a rare support slot for VV at the Royal Albert Hall in May 2024, and returned to support Heilung on a European run that included a sold-out Brixton Academy. Her first Australian headline shows came in November 2024, with one at Stay Gold in Melbourne, then a repeat headline tour earlier this year.

Tungl (Faroese for “moon”) came out 16 October on Nuclear Blast. It’s built around cycles of life, tenderness and heartache, with the moon as a guide through the dark. 

Read our review here, a great companion piece to this interview:

https://www.devilshorns666.com/2026/11/eivr-tungl-as-reviewed-by-mark-j-each.html

We spoke about the new sensational record, the old Faroese tradition behind it, and what the metal world looks like from where she stands.

Here's the fantastic interview:

https://youtu.be/VD3WymBNhus

What we also covered:

We started with the moon: whether it was the organising image before the songs existed, whether Tungl was a deliberate step further into the darker ground Enn opened, and whether the album’s unmoored feeling was something she was living through or something she built into the sound. 

From there we went to the Faroese root, how the ballad and chain-dance tradition still shows up on the record as shape and rhythm, what outsiders get wrong about the islands, and whether keeping the kvæði tradition alive feels like a duty for her generation.

The conversation then turned to voice and process: when a song calls for the raw, ritual voice instead of the clean one, and whether older tracks have ever felt like a weight while writing new material. 

We also talked about the move to Nuclear Blast, how she feels about being claimed by metal and the Norse pagan scene, where honouring the old Nordic world ends and costume begins, and what The Last Kingdom and God of War taught her about writing someone else’s story.

We spent time on the beautiful and epic closer, the one English song at the end of the record. We covered why it sits there, what English lets her say that Faroese doesn’t, and why a record this dark ends on something that feels like relief. 

We finished on the compass and the cost: whether she lost her own while making it, what still scares her creatively after more than two decades, and what she hopes a listener feels alone with the record and much more.

I missed her last two headline shows, but was blown away when she supported Heilung. Her entire catalogue of work is amazing, and interviewing her has illustrated her warm and engaging personality even more. 

Some creative geniuses are great at their craft, but not engaging or willing to go deep on their craft. Eivør Pálsdóttir is an enchanting soul, a brilliant creative, and you should support all her work.

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