Dyr Tid

Dyr Tid was formed into a music group during the spring 2016 when Love was working on an artistic research project within his master education at the dramatic university. The first concert was made 25 meters below ground in an old nuclear reactor facility. The music was improvised but structured through breathing and through certain photographs, which were also exhibited in other rooms in the underground venue. After a series of the improvised concerts we started composing and arranging old music to use as structures for our music. With influences from the traditional Scandinavian folkmusic, electronic music, rock and pop the band created their world of sound.

Joakim and Love has know each other almost since birth and started playing indie-rock when teenagers. Love and Anna met within the traditional music scene where both have been active their whole lives. Anna is educated at the folk music institution at the Royal Music Academy in Stockholm. During 2017 we have composed music, played as live band in a theater play, and recorded and released our first music. We plan to record more music during the autumn.


The first song, Samir’s sorgemarsch is composed by us this spring, it sounds like a traditional tune and the title ”Samirs Sorgemarsch” can be translated to ”Samir’s march of lament”. There are many sorgemarscher in the Swedish music tradition, composed and played on funerals. Samir is a fictive character from a theater play we worked with, but the arabic-sounding name became for us a representation for all the nameless victims of the mediterranean during the last years horrific transportations of refugees.
The second song, Dyr Tid, can be translated to ”expensive time” or ”the time is precious” the melody and the text are traditional from tradition of religious christian songs which mixed and formed before organs and education standardized the music played in the churches of remote villages in Sweden.
The third song O Frondens Virga, is composed by Hildegaard from Bingen (1098-1179). The interpretation of the melody and text is formed by our lack of knowledge about ”classic” interpretations of the church music. Instead coloured by our deep knowledge of  traditional Scandinavian music.
While working with Hildegaard’s music we found her as a very inspiring  composer and poet. Her music is part of the christian legacy that had a severe impact on the traditions of Scandinavia.
The fourth song Den Signade Dag is a traditional religious song. It exists in countless varieties all over Scandinavia. The oldest version we know about is written down around 1450.  We have heard it was connected and spread by the pilgrimages of northern Europe. This variety is partly traditional and partly our own melody and text.

ên morǧon gryr
ên na∂ ær øver
mi∂ jær∂a skriger
já vê∂ at dæ læger
ên morǧon gryr

a morning dawns
a night is over
my heart is screaming
I know that it’s healing
a morning dawns