Oliver s. Tyr

Manager of the group “FAUN”.
Musician, poet and animist. (Magister Artium) of literature of the Middle Ages.
Musical experience for more than 25 years and numerous workshops on string and stringed instruments.
Worked as a studio musician for Mediaeval Baebes, Eluveitie, Celtic Women, Corvus Corax, Schandmaul, and many others.

Besides FAUN he released the following CDs: “KAUNAN – Forn” 2017 / “FOLK NOIR – Songs from home” 2013 / “SAVA – Metamorphosis” 2008 &”Aire” 2004.

Also active with the groups: KAUNAN (nordic folk) and FOLK NOIR (dark folk) 
Publication of the poetry book “nach hinterhügelland” 1998 (out of print) and “Meere” 2007. (german language)
1997 awarded with the Leonhard-and-Ida-Wolf Memorial Award for literature

Instruments: Vocals, Irish Bouzouki, Moraharpa, Liuto Forte, Celtic Harp, Mandora, Kontrabasharpa, Nyckelharpa.

Gina Wetzel & Oliver Satyr – FEENGOLD
Illustrated hardcover book with audio CD.With illustrations, songs and instrumental pieces, Gina Wetzel (artwork) and Oliver Satyr (lyrics and music) provide here an insight into the secret realm of fairy tales and ballads. A magical journey with 42 illustrations, poens, two songs, seven instrumental pieces and six spoken fairy tales.To order at: https://www.ginawetzel.com/

Oliver s. Tyr – WANDERLUST
Short stories & Photography

In 2016 Oliver s. Tyr released this new book of short stories, memories and fotos of his journeys as a musician and traveller.
This book is only available at the merchandise booth at FAUN concerts and only in the German language.

Oliver s. Tyr – M E E R E
Book of Poems

Oliver s. Tyr released in June 2010 the second edition of his poem collection MEERE with poems and song lyrics in German.
This book is only available at concerts in Germany.

– Personal questions –

1. FAUN has so many wonderful songs – if you had to choose one – which would be your favorite?
Oliver Satyr: A difficult question, because you somehow love each of the little rascals. Furthermore, one would have to differentiate between concert and CD. Live there are certain songs I simply must have played at a concert, otherwise it doesn’t feel complete, for example “Alba”. My favourites on FAUN CDs are probably „MacBeth” and “Hagazussa”.

2. For quite some song and album you’re diving into old traditions, foreign countries and forgotten languages. Where does this journey usually begin and where would one find the extensive background knowledge?
Oliver Satyr: To me it is important that the theme of an album has been initiated through encounters and personal experiences. To work out songs only in libraries would be too dry and too unemotional. But if you have a personal approach to a topic, then I love to read deeply into a topic with numerous books. But not only books are important, but also experts. For example, in the case of the CD “Midgard”, we have worked a lot with people who are experts in viking folklore and mythology.

3. How many instruments do you play and which one is your very favorite?
Oliver Satyr: The answer would have to be constantly updated, because I very often buy and resell instruments. At the moment I have about 20 instruments at home, which I play actively. But I have specialized in strings and stringed instruments which are very similar to each other. Therefore the number sounds more impressive than it is, because many instruments are very similar to be played. At the moment I play most often on an early form of the Swedish “nyckelharpa”, a “contrabasharpa” and on an “Irish bouzouki”. In general I am very fond of Swedish folk music and Swedish folk instruments. What is also important for me is an open tuning or drone, so that the sound is as old and archaic as possible.

4. If you had a magic mirror – what would you want to see?
Oliver Satyr: Not the future. I am an optimist and find it important to follow your dreams, even if some of them may not lead anywhere.

5. What aroused your curiosity about the Middle Ages and inspired you to incorporate this into music?
Oliver Satyr: It probably started with my enthusiasm for fantasy literature and the local forests. When I was a teenager my music teacher lent me two CDs of early music which I listened to a lot. I had already played the guitar and instead of going to clubs I preferred to spend my evenings in the forest by the fire and singing ballads of mermen and troll women. While still at school I joined a medieval juggler troupe, which performed juggling, theatre and fire shows at about 15 medieval markets per year. From that moment on, I was lost. In a good way 😉