Undirheimar elaborates on the Thursian Shamanic path, discusses music writing process, the pandemic, working with different labels, new material and more.


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The Beginning

Looking back at your early days; did you foresee the birth of Undirheimar at any stage of your life? Where there any signs? What could have influenced the birth stage?

The first time when I had a desire to create “non-metal dark ambient music” was around 1996. Being very much into Mortiis, Aghast, Hagalaz Runedance, Dead Can Dance, Wongraven and even the Basil Poledouris (Conan the barbarian) and Wojciech Kilar (Bram Stocker’s Dracula) soundtracks.

But at the time, it was not possible mainly because I did not have the required material nor the skills to self-record such music. Ideas and imagination for creating concepts and imagery I always had, but not the means. But I knew, one day, I would create this type of music.

Back then I did not necessarily have the concept Undirheimar has now. I honestly cannot remember what concept I had then, but it matters not now. What matters is what is being done now. Not nostalgic dreams of a long time ago.

Coming from a country like Canada, where this type of sound Undirheimar adopts has not been commonly existing; what music attracted your attention since a young age that might have fueled Undirheimar in a way or another, if any?

Aside from my old friend who released an album of dark ambient on Zazen sounds (Umbrarum Tenebrae) some months ago, I am not aware of any other “dark ambient” projects. There might be, but I do not go around looking for other such projects if they exist or not.

I do what I do out of purpose and meaning, not because I have to create such a project since it is becoming a trend. Or, at least, there seems to be a growing number of neo-folk, dark ambient, and many other categories of non-metal formations seeing the light all around Midhgardhr, but Undirheimar does not belong to any such category or tag. So as you mentioned; Undirheimar’s sound not being common here in Canada, that is a fact. I would even say it is not common anywhere else in the world.

As for what music attracted my interest to eventually create Undirheimar, it is, again, mostly what I mentioned in the previous question. Certain bands from the early/mid-90s as well as soundtracks and, naturally, my boiling and creative imagination. I always loved to create new things whether it is artwork or music. Things that had a spark, to begin with; an influence, but afterwards, must take on their own path and cross the many thresholds that exist.

To look into the abyss not only to see what is there but to jump into the darkness and experience it. For the better or worse.


The Underworld

Undirheimar is an Icelandic word signifying the underworld – what is the idea behind choosing this specific Icelandic name?

It is simply the terminology that befitted the best what I wanted to convey as ritual art. It means, in fact, Underworlds, in the plural form, for there are many under-outer worlds to experience and travel to aside from this one we live in. Yet, it is only a “term”. Under…outer…inner…all are one and not.

Those are not physical locations you can walk in and out on your feet. There are ways to journey to other worlds within and without the multiverse. But all are journeys within oneself. There is no separation. No true disconnection saves that which we create ourselves, or are imposed upon us, by the lowering of the cosmic veil of illusion.

Undirheimar is the deepest abyss within me which is expressed through sound and vibration. It is a corpse charged with the primal Thursian Black Flame. Through it, I offer my devotion to the Old Ones with my voice and a sound that is a sonic reflection of the primal void: Ginnungagap.

What does the underworld mean to Undirheimar? And how does it manifest itself in Undirheimar’s offerings?

Undirheimar is a vehicle for the transmutation of the primordial Thursian current into an audible form. It is a corpse that is charged with intent and meaning. A sort of sonic talisman that holds the same ritual purpose as any handcrafted ones I use in my own ritual work.

The difference is that I offer it for others to experience it, which I normally never do. To me, the “underworlds” are all within us and the source of great wisdom and knowledge, as well as powerful, though not always pleasant or safe, experiences of inner transformation.

Many in the heathen community comfort themselves with the thought Helheimr is a beautiful, cosy, warm and loveable place to be. And that Hel is a loving and caring mother-figure who only seeks to embrace you and comfort your sorrows and anguish — It is indeed, a comforting thought; it gives them peace of mind, but I don’t believe they have actually crossed the gap and walked through her realm.

The lore mentions of certain parts of her domain being green fields, much like a mirror reflection of our world, where ALL women go after death, but, naturally, I have not experienced such a place. But this grim description I give of her halls is not in essence negative nor “evil”, as many have the tendency to give to her kingdom.

This is a very dualistic Christian view which I do not share. What may appear as dark and sinister does not automatically imply negativity; only to those who fear to look into the darkness. Those conditioned to associate the unknown and the darkness with the very monotheistic belief of evil live in religious ignorance and are closed, in fact, to enlightenment.

For enlightenment, one can find it in the darkened halls of Helheimr. Neither freely obtainable nor pleasant to gain, there is much to experience and learn before coming back from visiting the Black One-Inn Svarta.

In Undirheimar, not every “songs” are specific to Hel/Helheimr/the underworld, but there are quite a few which are offerings to the pale daughter of Angrboda. And a great portion of my work was seen, heard or experienced in the cold places of her domain.

It is a grand source of inspiration indeed, yet, not always easy to convey in a sonic manner for others to experience. Putting visions and insights in audible form is no easy task if one desires to have the listener understand exactly the message, but that is not essentially my case.

I very much like to quote Alexey Tegin from Phurpa when he says “It is not music…it is not noise. We create sound. It is an empty box, which I put in, from my mind, intent and information, then give you the box. You open it and use it, or understand and experience it as you want.

Undirheimar is very much the same; I may have control over what I do and what I offer, but I do not control, nor wish to, what the listener experiences when listening to Undirheimar. Just like Alexey mentions, Undirheimar is not music in the traditional sense of the word, nor is it noise. It is not also “dark ambient” or neo-folk.

It is easier, of course, to categorize, everyone does that, but I personally do not tag it such. I offer ritualistic sound. Channelled in such a manner that is not like traditional music composition. Yes, I record it in a studio with equipment, but the core of Undirheimar is not that. After I make it available to others to hear after procuring a CD, how they experience it, what they see or feel, is out of my control.

Not all experience my art the same way. And I purposely leave a lot of mystery and hidden information because first, I do not wish to share everything, but also, because I do not want to influence anyone. Each must make their own journey.


The Thursian Path

Knowledge is built brick after the other; what participated in building up your knowledge about the Thursian path?

It came quite naturally. I have been practising the “northern path” for nearly thirty years, working with the runes and so on. At first, following the path of Odin as I was always interested in seeking the mysteries and had a strong interest in a shamanistic approach to rituals.

Yet, even in the beginning, I had this yearning for something “older”. Something more ancient and primal than the gods themselves. At that time, I did not make the link with the Thursar as primordial beings from pre-creation. I was mainly obsessed with the shaman aspect of Odin and so I did not put much thought into it.

But this yearning remained through the decades. Many years ago, I started receiving messages and visions in link with Thursarùnnar. I had many dreams and insights which after discussing with certain contacts already in the Thursatru tradition, told me these were obvious signs of some form of communication, of a message that was being sent to me.

Already I had deepened my shamanic ritual work and had let go, many years prior, of the typical “Odinist” path and simply worked with what I called “Primordial powers”, which after much reflection, was simply the Thursian current connecting with me. In fact, it was always there, it was just me not connecting with it.

My work in the shamanic method (not a religion for it is not one) helped with the re-connection with the Old Ones. Those very “ancient and primal” forces I was seeking so many years before.

Then, of course, I saw those books by Ekortu; Thursakyngi, which were highly recommended to me as they would interest me and confirm many things which I was seeing and getting as insight without knowing exactly from whom these were coming from.

My personal work within the tradition is not exactly the same as Ekortu’s descriptions in his work for like I mentioned, I have a more shamanic, primitive approach to rituals, but it is the same in essence.

Thursatru; Thursian tradition and other names by other authors are just that, names. What matters is the core essence and the devotional work, not really how it’s called.

So my “knowledge” about the Thursian Path is mainly by actual practice. Through ritual work, Utisetta, journeying, etc. Yes, one can learn much from books, basic information, lore etc, but one does not deepen his knowledge and experience by reading grimoires only.

No matter how well-written books are, it is through practice that one deepens his understanding of the mysteries. That one experiences the various layers of consciousness and engages in dialogues with the Old Ones — this cannot be emphasized enough.

Undirheimar is wordily-classified in this physical life as Thursian Shamanic Ritual Ambient music; can you walk us through the Thursian current and its influence in shaping you?

Well, classifications are out of my control, but I understand how and why people create such. In this world, everything must be categorized, tagged, explained and given names and form for the masses to understand anything.

The sub-genre of music that is called “dark ambient” is vast, and although there are a lot of variations, this generic term remains the umbrella name for it all. Even I must give some form of descriptive adjectives to my “music”. Even this term; music, does not ring well with me.

Thursian Shamanic Ritual Art is what I came up with as a description of Undirheimar, but it is much deeper than that. Is it “ambient”? I guess it could be, but not in the same way many other smooth-sounding bands are.

This particular path of the olden primordial mysteries has indeed shaped in subtle ways how I view life and my very existence on Midhgardhr. For one; it showed me that although we, humans, like to imagine we are rulers and kings on this earth and that this same “mother earth” needs us to save her, it is all nonsense.

We are rulers of anything but ourselves. And that already is a challenge for 95% of the people in this world. The earth, which is a result of the sacrifice of Aurgelmir whose titanic body was used as “material”, does not need us humans to save it. It has survived for millions and millions of years throughout all calamities, and it will survive us in many more millions of years more.

This foolish eco-friendly and, O so self-centered, egotistical belief that Man alone can save the planet by not driving cars or using plastic straws, is quite ridiculous and a good example of today’s modern man’s exaggerated opinion of himself believing that he/she is at the center of the chain when, in fact, we are part of it.

Every now and then, we have powerful examples of the poor and defenceless planet “saving” itself through volcano eruptions, earthquakes, tsunamis and, of course, pandemics spreading everywhere. All for the good cause of cleaning up the surface a bit.

No need of lowering our carbon imprint, for those most militant for this is often the same writing their big complaints on the internet from their 1000$ cell phones, or the latest model PC while sipping on Starbucks coffee in front of Netflix.

And no, I am not an anti-ecology and pro-industry guy. I am simply aware of what is the situation and of how the First One, Aurgelmir, though slain in flesh, is still very much alive in transformed ways and knows what to do to fix what needs fixing. It is just not always what we humans, think it is. This discourse is not very popular, I know, but it is what I believe.

Also, it helped me realize how we are connected to the primordial forces through the essence of the great grandfather Aurgelmir. Within him are the complementary powers of Muspelheimr and Niflheimr combined. Upon his dismemberment by the demiurgic triad, his Ur-Thursian essence was not lost; it was simply transformed and passed down unto all things which were created from him, including us.

Energy never truly disappears, it simply changes form. Therefore, we are still linked to him as well as to the original womb of Ginnungagap. This illusion of separation is a creation of the conditioning imposed upon the masses. A veil of deception that encourages the belief in materialism, superficiality in all things, the inversion of traditional values, as well as atheism.

I am not saying every single thing of materialistic nature is bad, we still live now, in 2021 and are sentient beings with physical needs and requirements, but, the greater part of the masses ignore, or willingly choose to ignore that we do not bring anything with us at the time of the grand transition. So yes, use what you need now, but do not put more importance on impermanent things — detachment is to be practised.

Some would say there is a certain Eastern angle to this, perhaps yes. I have found that many eternal concepts have a source, what that source is called? That varies from culture to culture. Often, they are just names and images, not the “thing” itself. You are not what you are called. You are not what you appear to the human eye. What is primal and pure in essence is not limited by cardinal directions like eastern and western. It simply is.

How I “see” Loki is not how another would see him. Even the name “Loki” is not in reality “his name”. It is what he was called by the first ones that chose to name him thus.

What I am trying to convey here, is that throughout history, men have always given names and imagery to their gods. It is a natural reflex to try and visualize beliefs.

The urge to understand everything is strong and one way is to name everything, to give a shape and a form to everything that is supra-natural. What has no shape or name, to begin with. That is how I see it.

When I connect with the Old Ones, the insight I receive is not academic data on the proper way and language to pronounce this or that Thurs’ name or what it looks like, within my limited, human mind’s capabilities of understanding, it is how to connect with the source of its Being, its essential power and attributes. It is to tap into that flowing current that never stagnates. It is simply hidden behind the veil of illusion.

These are two examples of how the path has shaped my views and awareness, but there are more subtle ways as well, but I will not go into everything here.

How does the Thursian shamanic path reveal itself through Undirheimar’s offerings?

It is no easy thing that of sculpting sound out of beliefs and from what is essentially silent in origin. To a certain degree that is.

Giving an audio form to the Thursian current for others to hear with the very basic sense of hearing, is quite a challenge. But I do not put too much time actually into this problem, which is not really one in fact.

Undirheimar is not about technicality or good sounding dark ambient music. It is not music in my view; it is a shared, available ritual to others to be a part of. Undirheimar is not to be listened to as background music for when you read a book or do other occupations; it is a ritual in which you can participate if you want to fully experience it. Most of what you hear is created at the moment I am in the studio.

The singing, aside for the very rare occasions I have actual “lyrics” as in Haljoz Anakalzà and Enn Himinn Klôfnàr from the Heljarrùnar album, are sung on the moment. After I laid down basic layers of drones and percussions, I sit down and go inside myself. Then, I simply let it out. Nothing is rehearsed.

The Angrboda album which is a 53 minutes long song, took about 53 minutes to record — One take. That is why when you pay enough attention, you can hear that since there is more than one track of vocals on many songs, it does not always follow perfectly. That is because if I decide to add a second and third track of overtone throat singing, I can’t reproduce exactly what I did the first time. That is also why I could not reproduce those songs live.

The essence of Undirheimar is not to create pleasing music to the ear. It is not for entertainment purposes; it is a sonic talisman which I charge, through chanting, with intent and devotion. I, of course, do not expect anyone to understand what goes on in my mind while I am singing (that is impossible) but if a glimpse of what I try to put in my work reaches someone in a way that they can somewhat perceive the intrinsic essence of it, then it already something.

I don’t expect anything from my art. I don’t tell people that they should understand this or see that vision etc. That is all up to each individual to experience. Like mentioned earlier, I fill up an empty box with sound which I create with intent, then, upon opening it, you will see and hear what you must see and hear.

I have had some people writing to me with comments about what they saw or sometimes what they hear me singing in certain songs. When in fact, there are no words at all…but they still hear them. A certain “message” was given to them. What it is, I do not know, and that is personal to them.

What must be revealed will be, in time. It was thus for me, it will be for others as well.


The Process

Can you walk us through your album writing process from the beginning and reaching to the physical release?

All my concepts, so far, came to me during dreams or visions during Utiseta. I don’t necessarily (although I cannot say I won’t in the future) sit down thinking “ok, what can I do for the next album”. I let what must be just come to me on its own.

It is a form of chaos magic in the sense that I have no control over what will come. And chaos is what the Thursar are emanating from. I am in a way, being guided by the current.

The exceptions are when I decide to have specific lyrics in a song; like the “Enn Himinn Klôfnàr” track which is taken from the Völuspa. This one I wanted to have on the album, but the rest were inspired, then I simply went along with the insight. When I do have lyrics, they are written in accordance with the essence of the original inspiration.

When I did Angrboda, it was the same. After a ritual, I was flooded with images and visions of a moving shadow in the woods. I felt the temperature fall to a chill and my vision was veiled with mist and the scent of pine filled my senses.

Then this bandrùnar appeared, the “HrimThorn” which is featured on the cover of the album. It represents Angrboda and her three gifts (Jormungandr, Fenrir and Hel).

In the following weeks and months, I used that symbol as a focal point in meditations and so when I recorded that album, I simply “reproduced” the type of devotional chanting ritual I do in my own workings at home.

I put more thought into the visual of the album so that everything fits properly. You cannot put one element in the layout that completely contradicts and cancels another on the same design.

The whole offering is a Taufr (magically charged talisman) in a way and it is important, to me at least, that it is well done and properly manifested in accordance with the theme.

The purpose is not to have a nice looking, cool album layout or have themes that are catchy and will attract attention because it is the latest trend. I channel what comes to me, and if it is in a way, repetitive, then so be it. I have many songs dedicated to Hel and overall Niflmegin, but it is as it is. I won’t force a concept if it doesn’t come to me naturally; well…from Them.

Undirheimer released two releases in the year 2020, the year of the pandemic as globally acclaimed; how did Undirheimar manage to do so, keeping in mind all the daily life changes this pandemic has induced, and what reasons stand behind releasing two albums in a single year?

Of course, I have no control over the actual release date, that is the prerogative of the labels, but if I have to record two albums in one year, plus another side; (compilations or splits, etc), then so be it.

I must admit that I have a lot of inspiration coming to me, to the point that I sometimes choose to delay certain things.

A good friend of mine once told me that I have to be careful about releasing too many albums too fast. That is true; one does not want to overdo it. But still, when it comes to me, I have a tendency to act on it. I believe when the fire burns, it must be fed and not extinguished.

Initially, the Heljarrùnar album was scheduled to be released first on Cyclic Law, but some delays made it that the split with Emme YaPath of the Shaman on Black Mara was out first, then Heljarrùnar shortly after.

These delays are out of my control, but they are today’s reality. The pandemic which spread its veil over the world has had a powerful effect on a great majority of the masses — it did not affect me much though.

And I will not go into a debate if the virus is man-made or natural, but what I sense from it, is that it is a world cleanser. As I was mentioning earlier, the earth knows what to do to heal itself. One method is population reduction. Most of the major calamities which kill the greatest amount of people occur in the most populated areas of the world. There is a reason for this. Fear materialized in an avatar which hovered above the world and most people got linked to it. It fed on fear and despair. This I did not connect with.

As opposed to what might transpire through Undirheimar’s dark and death oriented sound, I am a very positive person.

Yes, many of our liberties were broken, but the isolation many despised was welcomed for me. I have no problem with solitude and keeping to myself. Not going to restaurants, cinemas or whatever is really no problem.

Many got depressed and started eating badly; not exercising and their health got affected. Not me. I turned inward and explored deeper into the abyss.

This crisis fueled my work as opposed to slowing it down as many bands and musicians experienced. I kept seeing those I wanted to see, recorded the music I wanted to record – it was not because the government ordered lockdowns that I would just stay home and wait. Life kept as usual. Yes, there were some delays as mentioned above, but that is not tragic.



In Norse mythology; Angrboda is the one who brings grief or she who offers sorrow – How did Undirheimar represent the self of Angrboda in the form of sound?

That is an interesting question. What the lore describes as her attributes and what I experience with the Old Witch are two things. I do not concern myself much with the “official lore” of Norse Mythos.

Angrboda/Gullveig/Heidr possesses her qualities and attributes befitting her position as Hrimthurs and wise crone of ante-cosmic Thursian sorcery. She is the primal dark feminine, both creative and destructive. A most ancient powerful Thurs and how would I represent her in sound?

Well, the Angrboda album was not intended to be a descriptive album. It is not an album “about her” it is a devotional chant for her. Picture this album as a devotional song intended for her, which you would hear if you were present in my Setahut with me.

I don’t really intend on making songs about any particular Thurs. I believe this to be quite basic. I am much more inclined to record callings, devotional galdrar, vardlokkùr…etc to them and/or the primordial Thursian powers. This, to me, has a much deeper sense of connection than simply describing a divinity’s attributes or appearances or powers etc.

Our consciousness changes every second; within this context, what could be different when writing music for Angrboda album compared to Undirheimar’s earlier work, and how would you describe the evolution of Undirheimar’s sound and presence?

Every album possesses its own essence. Its own energy and reason to be. I do not “write” music for my albums. They are created instinctively at the recording studio through the channelling of the current.

I approached Angrboda differently in the sense that it is 53 minutes long devotional chant and was thus recorded in one shot (or about since there are two layers of vocals).

Heljarrùnar took more time because it is somewhat more complex. There are more elements in that album compared to Angrboda which is very minimalist. And that was the intention for it, to sound much more primitive and have this live ritual feel.

As for an evolution in sound, I cannot say I won’t record another album closer to the Heljarrùnar album again. In fact, I cannot tell you now, how any of the future recordings will sound as I will find out at the moment of recording.

In the coming release on Cyclic Law scheduled for December, you will hear again a slight change, yet, it remains easily recognizable as Undirheimar. If I would have to describe the variations, I would simply say that it is of the very nature of the Thursars to change and fluctuate, as their vibratory pattern does. They are beings of a chaotic essence, and so is Undirheimar.

It is not “regular” not predictable. You know what it is despite the change, and that constant movement is aligned with the current. Continuous and ever-morphing while keeping to its primal core.



Undirheimar released its latest album titled Angrboda via Zazen sounds – tell us how this deal took place, and how different is it compared to working with other labels such as Cyclic Law or Black Mara? And why Zazen Sounds?

When I first started Undirheimar, I already had in mind three labels I wanted to work with; Cyclic Law, Zazen Sounds and the Russian label Black Mara. Within a year, I had worked with all three, so I feel very privileged for this for all three labels have quality releases and do not simply work with any bands who just ask to have a CD released by them.

Cyclic Law

I have known Frederic from Cyclic Law since about 1998 when he used to live here, in Canada. When he formed his label many years ago, I already knew then that if one day I would do a dark ambient project, I would contact him first.

Many years later, that is what I did. He had moved to Germany (now France) but when I sent him my Heljarrùnar album and he immediately agreed to produce it. And it wasn’t just because of a long friendship for I told him to be honest and if he didn’t like it, it is no problem, but he loved it so it was that.

Black Mara

Black Mara I knew about them after seeing some of their artisanal releases which I thought were simply amazing. The time and effort put into those demonstrate a real dedication to the work. So when Emme Ya and I were looking for a label to release the split, I contacted them and again, it didn’t take long to reach an agreement.

We also talked about releasing future Undirheimar material and that’s when the trilogy project was put forth. The first part is coming very soon. It was a recording that was made at the same period as the Heljarrùnar and the split.

Zazen Sounds

Then came Zazen Sounds. I had been in touch with Nikolaos for some time, and we developed a strong friendship (although long-distance), through many discussions on esoteric matters, philosophy and overall worldviews which we are very much in tune with each other.

So, again, since I wanted to work with him on his label, I proposed to him the Angrboda album which he loved right away.

It is a very special offering, which I added special ritual items, that I made, to go with a specific limited number of editions. Some with a mala and incense, and another at 3 copies with a different mala and a wooden talisman. I like to add when it is proper, special ritual talismans, malas and other ritual/meditation “gifts” with a specific purpose.

Will I release albums on other labels? I have at least one that is very interested, and I am not closed to the idea, but I have also refused a few offers from others, which, to me, appeared only to want to grab Undirheimar because there is (supposedly) a sort of high interest in the dark ambient underground about it. I was not aware of that, but it is what I have been told.

New Material

There is new material coming by the end of this year via Black Mara and Cyclic Law; can you tell us more about that?

Yes. The first part of the Hel trilogy is soon to come on Black Mara – a maters of weeks perhaps. And there is also another offering coming later in December (if no delays) on Cyclic Law. Which will be a sort of prelude to the next full album for Cyclic Law later in 2022. And as for Zazen, there is another release including Undirheimar, amongst others, coming in early 2022, and this one will also be a very special release.



Your collaboration with Emme Ye yielded the Nigrum Gnosis – The Path of The Shaman release; what’s the story behind that alliance and what was the message behind the release?

When I posted my first song to promote Undirheimar in the beginning, Edgar (Emme Ya) contacted me about five minutes later asking if I would do a split release with him.

Of course, we were already in contact since I have worked for him on books for Sirius Limited Esoterica, as I am an illustrator/painter through Blood Fire Ritual art. And I already knew about Emme Ya and very much liked his music. So this cooperation happened fast and produced a powerful ritual work.

Is Undirheimar planning for future collaborations, or perhaps willing to perform before the public at any stage of life?

Other cooperative works are already in the planning indeed. In various forms as well, not necessarily two bands doing their own songs. But I will not reveal more for the moment.

As for Live performances, I do indeed plan on making those, but it is not easy as I am alone. I would not be able to reproduce exactly what I do on my albums. But that is ok since I would not be only doing this or that album song on stage. Each live ritual would be different and unique. Not rehearsed as far as the singing part is concerned.

Perhaps I would have a background drone sound wall going on for a certain period of time, over which I would simply let go with raw Vardlokkur and galdrar. Meaning, inspired ritual chanting…not rehearsed. Have every ritual based on a certain theme, and then channel the current on stage.

But, another challenge would be, with whom? Here in Canada, I am not aware of any other “dark ambient” projects I could share a stage with.

All the interesting festivals are in Europe: L’Homme Sauvage, etc. I was invited to Russia, in a few months, to participate in a live ritual with Maha Pralaya, but it is not that simple. There is a high cost to travel over there and I would need a certain level of technical help. But, I remain positive. I know this will happen, just uncertain where and when and with who.

If you would name a few names that Undirheimar wishes to possibly collaborate with; who would those be?

I would honestly be very grateful to do a split release with Draugurinn one day. Her work is simply phenomenal and amongst my favourite of the genre. I love her minimalist approach and overall concept. Her sound and mine would really complement well I dare believe.

Also, with Phurpa, of course. I find certain similarities within the rituals of the Bön shamanic tradition with what I do, and my use of low-tone throat singing is very similar to what they do. I simply adore their work, which is a good practice for my chanting as well.

I would also very much like to work with Shibalba. There are other bands in which cooperative work was discussed and some, already started, but I will not talk about those for now.