In an era where the cinema and entertainment industry thrives on global accessibility, much of the content we consume is done either to stay relevant or expand our viewing libraries. However, only a select few truly savor these works on a deeper level, taking time to appreciate the technical intricacies that breathe life into a production. Among these elements, music stands out as a cornerstone, particularly in period dramas like The Last Kingdom. Here, sound isn’t merely an enhancer—it’s the very soul of the series.
While I wouldn’t argue that The Last Kingdom has the best soundtrack of all time (as “best” is subjective), it undoubtedly ranks as one of the most ambient. Ambient music refers to tracks that create a rich, immersive atmosphere, deeply tied to the environment and narrative they accompany. Such soundtracks don’t just complement a scene; they transport you into the world on screen, fostering a sense of familiarity and meditative immersion.
The Last Kingdom Soundtrack by John Lunn and Eivør
The soundtrack of The Last Kingdom is a collaborative masterpiece, primarily composed by John Lunn and brought to life by Eivør Pálsdóttir’s ethereal voice. It carries a distinct Nordic and Slavic flavor, employing traditional instruments like the nyckelharpa, tagelharpa, and bone flutes, as well as throat singing and Faroese chants. These elements create a haunting yet tranquil soundscape that feels authentic to the show’s Viking roots.
John Lunn and Eivør even created the main theme live during a YouTube broadcast, demonstrating the magic of their collaborative process. You can find the link above. Viking drums are a consistent element, giving the tracks an earthy, primal energy. Yet, the composers blend this authenticity with modern touches like electric guitars and synths, making the music both ancient and contemporary. This duality mirrors the show’s theme of clashing cultures and identities.
A Soundtrack with Range
The music of The Last Kingdom spans a wide emotional range, from thrilling and intense compositions to deeply meditative and calming pieces. The main theme, for example, is a fast-paced progression featuring Eivør’s powerful chants and screams, complemented by Viking drums and layered instrumentation. This track perfectly sets the tone for the series, encapsulating its themes of war, survival, and identity.
Notable tracks from the series include:
“Lívstræðrir” – A deeply evocative piece with a spiritual undertone.
“Blood Will Prevail” – Thrilling and intense, perfect for battle scenes.
“Æternum” – A meditative, almost otherworldly track.
“Helig” – Captures the solemnity and mysticism of the series.
“Blues for Halig” – A mournful and haunting composition.
“My England” – A triumphant yet bittersweet anthem.
Some of these tracks are so ambient and meditative that they can help calm you, soothe you, and even help you sleep. The tracks are also fantastic for concentration and reading. In fact, I am currently writing this article while listening to The Last Kingdom’s album.
Blending Cultures Through Music
One of the most remarkable aspects of The Last Kingdom’s soundtrack is how it reflects the dual identity of its protagonist, Uhtred of Bebbanburg. Uhtred, a Saxon by birth but raised by Danish Vikings, embodies a fusion of Christian and Norse cultures. This blending is echoed in the music, which combines Nordic and Slavic elements to create a unified soundscape.
This musical duality mirrors Uhtred’s character arc, bridging his Christian heritage and Viking upbringing. By combining these influences, the soundtrack creates a consistent ambience that unifies the series. Regardless of the scene, season, or episode, the music instantly draws you into The Last Kingdom’s world, ensuring an emotional connection that never falters.
Comparing The Last Kingdom Soundtrack
When comparing The Last Kingdom to other period or fantasy epics like Game of Thrones or The Lord of the Rings, its approach to music feels refreshingly understated. Unlike Game of Thrones, which uses sprawling themes to represent various houses and cultures, The Last Kingdom opts for a unified Nordic and Slavic sound that reflects the dual identity of its protagonist, Uhtred.
In contrast to the grandeur of The Lord of the Rings, The Last Kingdom takes a subtler, more intimate approach. Where Howard Shore’s work exudes epic glory, John Lunn’s compositions focus on introspection and atmosphere.
A closer comparison might be Vikings, given their shared historical and cultural settings. However, Vikings leans into the darker, grittier side of Norse music with heavy drumbeats and raw energy. The Last Kingdom, by contrast, balances this primal intensity with moments of calm and reflection, blending Christian and Nordic influences in a way that mirrors Uhtred’s internal conflict.
A Masterpiece of Ambience
John Lunn and Eivør have crafted a soundtrack that consistently maintains the show’s atmosphere, pulling viewers into The Last Kingdom’s world from the first episode to the last. Its ambient qualities ensure that every track feels connected, creating a seamless auditory experience that enhances the narrative without overpowering it.
Both Lunn and Eivør deserve broader recognition for their contributions. Lunn’s other notable work includes The White Queen, another period drama with hints of The Last Kingdom’s style. Eivør, meanwhile, has gained fame in the gaming industry for her work on God of War and God of War Ragnarök, further showcasing her mastery of evocative vocal performances.
Final Word – The Last Kingdom’s soundtrack is more than just background music; it’s a vital part of the storytelling, a bridge between the past and present, and a meditative experience in itself. Whether you’re a fan of the series or simply a lover of ambient music, this soundtrack is worth savoring.
What do you think about The Last Kingdom’s soundtrack? Does it rank among your favorites? Let us know your thoughts!
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