Metal Anarchy

Enslaved have premiered a new song titled “Spirit Helper.” The track features Kevin Kicking Woman, a member of the Blackfeet/Cree Nation in Montana, and a visualizer for it can be found below:

Kevin Kicking Woman commented:

“Songs are the Blackfoot way of knowing. Expressing relationship and responsibility, belonging and accountability. The purpose of this song is having the performative expression giving meaning to life. Connecting to the universes through the cosmos, earth beings, water beings and spirit beings. Spirit helper is the physical documentation in this process.”

Enslaved’s Ivar Bjørnson continued:

“‘Spirit Helper’ began taking shape long before the song itself existed. Its origins lie in years of conversations, festivals, travel, and shared experiences that gradually connected people, traditions, landscapes, and communities.

For Enslaved, the path toward this collaboration began in Colorado in 2019. Through our extended musical family — including shared connections with Wardruna, our longtime management, and the wider community surrounding Fire In The Mountains — we were introduced to one of the festival organizers, Shane McCarthy, and the vision behind the gathering that would eventually lead us toward the Blackfeet Nation in Montana. What initially began as conversations around performances and artistic collaboration slowly evolved into something much deeper: an exchange of perspectives, histories, and spiritual traditions shaped by many people along the way. Those connections continued to grow over the following years through both Fire In The Mountains and the wider community surrounding By Norse Music — the label and artistic platform founded by members of Enslaved and Wardruna together with our manager Simon Füllemann. Through By Norse, new conversations, meetings, and cultural exchanges emerged, eventually helping create the conditions that made ‘Spirit Helper’ possible.

When Fire In The Mountains were to return in 2025 on Blackfeet land in East Glacier, Montana, those relationships deepened further. The festival brought together artists, organizers, elders, and community members in an environment centered around dialogue, music, and cultural exchange. We were welcomed into conversations and ceremonies that left a profound impact on us.

Throughout Enslaved’s history, mythology and spiritual traditions have functioned as a language within our music — a way of connecting personal experience with deeper human memory and history. Meeting members of the Blackfeet community felt like encountering another expression of that same search for meaning, continuity, and connection.

During the festival, I got to know Nick Rink of the Blackfeet Nation, and through Nick I was later introduced to Kevin Kicking Woman, elder of the Blackfeet Nation, whose presence became central to the development of the song. Through these friendships — together with the openness and encouragement shown by the wider Blackfeet community and the people behind Fire In The Mountains — conversations gradually developed into mutual trust and eventually the idea of creating music together. Throughout the process, there was a shared understanding that this collaboration needed to be approached with honesty, transparency, and respect.

During a later gathering in New York, attended by representatives from the Blackfeet community, Fire In The Mountains, the Firekeeper Alliance and Enslaved, Kevin shared a traditional morning prayer song with us — a deeply personal and spiritual piece that he generously entrusted to me and Enslaved as the foundation for a new composition. I immediately recognized the responsibility carried within that gesture. Rather than simply building around Kevin’s contribution, it became important for me to allow the music itself to adapt to the pulse, rhythm, and spirit already present within his song.

Over the following months, we worked to find a musical language where these worlds could coexist naturally — allowing Enslaved to remain fully itself while honoring the cadence, emotional core, and spiritual energy of Kevin’s prayer. The process was guided not only by the collaboration itself, but also by the encouragement, dialogue, and openness shown by the wider community surrounding the project. Gradually, the song revealed its own identity. That process ultimately became ‘Spirit Helper.’

For us, the song represents far more than a collaboration between artists from different backgrounds. It reflects what can happen when people meet openly, listen carefully, and allow themselves to be changed by the encounter. The generosity, trust, and wisdom shared with us by Kevin Kicking Woman, Nick Rink, the Blackfeet community, Fire In The Mountains, the Firekeeper Alliance, our partners through By Norse, and everyone who helped shape this journey are things we carry with deep gratitude.

Ultimately, ‘Spirit Helper’ is a song about connection — between past and present, traditions and people, and the spiritual and human worlds. For Enslaved, it stands as one of the most meaningful musical journeys we have undertaken.”

Cover artist Nicholas Rink added:

“I see the light blue wave at the bottom as a representation of the ocean between us, but also the background vibration of existence connecting us all and giving birth to existence, life, and of course the song itself. The red line I imagine connecting us across the globe, representing our shared humanity and brother/sisterhood – the living breathing life in us all. The yellow spiral represents the song moving amongst all of these things. The ‘Stars’ were part of Ivar’s original conception and I see them come to represent the power and source of the song. The black circle with the lightning bolt represents Kevin’s singing and the spiritual power it carries, and the rainbow of triangles is representative of the musicians. I wanted to include them symbolically and thought the traditional ‘triangle man’ was a cool way. It took me a bit to decide how I wanted to use it but eventually it came to me to pay homage to ‘Dark Side Of The Moon’ by Pink Floyd and included the rainbow colors in a unique way.

All of this is on an old map of Norway that my grandma had saved out of an old National Geographic magazine. I like using maps because LAND is so important in shaping us, our humanity, and how we express ourselves.”