With a career that spans over thirty years, Northern Irish Pagan Metal pioneers Waylander return with their sixth studio release Mac Tíre, Son Of The Land. Although it is not a concept like predecessor Eriú’s Wheel, it still continues to encompass Irish mythology, pagan spirituality, history, and cultural pride into epic storytelling. This is delivered with a sound that melds crushing Metal aggression with authentic Irish folk instrumentation that is guaranteed to invoke “the heathen spirit that dwells within every listener.”
Waylander – Mac Tíre: Son of the Land
Release Date: 6 November 2026
Words: Jools Green
Lyric-wise, vocalist and lyricist Ard Chieftain O’Hagan explains that he finds his inspiration from “the landscape of my homeland, the history, the folklore and the ancient monuments from ancient times.” The result is both a very grounded and powerfully uplifting listen. You can feel the genuine passion in both the words and the delivery.
The title Mac Tíre: Son Of The Land comes from the Irish language, where the word for wolf is Mac Tíre, which means son of the land, harking back to ancient times when Ireland was known as the isle of trees, full of forest and bogland, and the wildlife was many and varied, with the wolf the most abundant predator.
This time around, the album also features guest contributions from John Ryan of Theigns And Thralls on fiddle and cello, Lily Maria as the voice of Deirdre on She O The Sorrows and additional vocals from Madre Tortura and Nicole Quinn.
Opening piece When The Land Speaks is “about taking time to attune to the earth, the land where you dwell and truly connect.”It is a superb mood-setting piece, with the first two-thirds focusing solely on traditional instrumentation. The pace intensifies and develops a Metal undercurrent with the arrival of the raw, rugged vocal element, which I do like immensely, along with how this piece builds in atmosphere, intensity and pace, in turn setting the mood and pace of the album.
The next piece, Macha, is a tribute to one of the oldest and most enduring figures in Irish mythology, the goddess Macha, from Armagh, where Ard Chieftain hails from. Musically, it is an up-tempo, driving and stirring piece. I love how you have the flowing melody from the whistle contrasted against the strong vocal delivery and driving Metal undercurrent.
There is a reflective drop midway, rebuilding to its former intensity and closing on a suitably uplifting swathe of lead work towards the close. An excellent piece and a worthy homage.
Ages Of Éireann, which features guest musician John Ryan on fiddle, was the first song Waylander completed for this album. It reflects on the various eras of Ancient Ireland, Ice, Stone, Bronze and Iron and how those eras shaped both the land and its people. Again, a powerful, punchy, and uplifting piece where whistle and fiddle meld sublimely with the more Metal side of the sound.
Hy Brasil (Isle Of Mists) explores the Irish myth of the mysterious island to the west of Ireland, which is said to have been sought by many over the centuries. Described as cloaked in mist except for one day every seven years, when it becomes visible, it still cannot be reached.
Musically, it is delivered at a slower pace than predecessors, and I love how the whistle undulates and weaves around and between the guitars, building that misty, mysterious atmosphere and also the way the lyrics are delivered in a more reflective and contemplative manner, along with the spoken element just after midway, after which the leadwork soars out like the mysterious island briefly revealing itself.
The next piece is about the volcanic mountain Sliabh Gullion, the highest point in County Armagh, from where on clear days you can see six counties. This is another area steeped in folklore and mystery, particularly the legend of Fionn MacCumhaill, the Irish hero and leader of the Fianna bands of young roving hunter-warriors. He was said to have a magic thumb that bestowed him with great wisdom.
It is a superbly atmospheric and engaging piece thanks to the extensive quantity and range of traditional instrumentation included. I love the ever-gradual layered build in pace and intensity as it progresses.
Yearning for the olden times of vast forests, Our Once Wooded Isle reflects on a time when Ireland was known as the island of trees, compared to now, when it is one of the least forested places in Europe. Lyrically, the song reflects on the cause and needed remedy.
Musically, it has a harder, darker, and more driving Metal sound, bolstered by the raw vocal delivery, with the flute appearing in the chorus and returning just after midway. Here, the pace drops back, and the mood turns reflective, adding an atmosphere of lift and optimism.
Mallachtaí is lyrically inspired by the unique tradition of satire as used in the Bardic tradition, which was a potent weapon in ancient Irish society. Musically, it cuts sharply like the lyrics, the delivery of which packs a punch. But it is also hugely catchy thanks to the choral repeats of “Mallachtaí!” and the repeating passage “I curse you from now, until the end of your days, heed the words that you hear, try not to tremble with fear”, along with the melodic flow of the whistle work.
Signs And Symbols looks at the esoteric, the ancient, the profound and the unexplained. This is a superbly up-tempo piece that is absolutely awash with traditional Irish instrumentation and bolstered further by a superb swathe of latter-part leadwork. A track guaranteed to get the heart beating and the blood coursing through your veins.
Final piece, She Of The Sorrows, symbolises the destructive consequences of jealousy, prophecy, and the attempt to control fate. This is based on the tragic tale of Deidre of the Sorrows, from the Ulster Cycle in Irish mythology, which tells how Deirdre’s prophesied beauty led to her forbidden love with the warrior Naoise, their exile in Scotland, and their eventual betrayal and death at the hands of King Conchobar.
Musically, it is a powerful piece that is dense with pounding rhythms, soaring whistle and superbly punctuated raw vocal delivery. Lily Maria, as the voice of Deirdre, adds a sad, haunting aura to the choruses. Just after the midpoint, it ebbs away reflectively, adding impact to the hauntingly delivered lines “Naoise, Aille, Ardan, your doom is coming for you.”
When it rebuilds, it holds a slower, darker mood reflecting Deirdre’s betrayal at the hand of the king. You will not hear a more hauntingly emotive swathe of lead work than you will find at the end of this piece. This is an amazing track that you cannot fail to be moved by.
It is rare I am impressed by a Folk Metal album. Most are too flowery for me. But Mac Tíre: Son Of The Land is a superb listen. It is powerful, uplifting and engaging.
My favourite aspect is the balanced contrast between the raw, well-phrased vocal delivery and the ever-constant, beautifully atmospheric delivery of the whistle work across this album.
Waylander release Mac Tíre: Son of the Land on 6 November 2026 via Rockshots Records. For pre-orders, visit the Rockshots Records website.
