MARTRÖÐ began in 2015 not as a band, but as an experiment in convergence. It was never about the individual, but about what emerges when singular wills dissolve into a shared vision. In this sense, MARTRÖÐ functions as both seed and symptom: the impulse that later unfolded into Mystískaos, but also a form of collective dreaming in its own right.

The first articulation of this came with the "Transmutation of Wounds" EP in 2016, a work that did not seek catharsis but rather confrontation, a descent into layered sound as a mirror of existential fracture. After this, MARTRÖÐ entered a long period of gestation. What now emerges years later is not a continuation but a transformation: the full-length "Draumsýnir eldsins", a cycle of dream-visions where humanity dreams its own apocalypse, angels are stitched from remnants, divinity is suspended in endless death, and creation collapses as the dreamer stirs awake.

MARTRÖÐ has remained intentionally outside the categories of stage, permanence, or identity. It exists in the unwaking hours, in the liminal space where visions take form. Its essence is the alignment of forces that briefly converge to give voice to dissolution, not performance, but invocation; not continuity, but the persistence of a nightmare that survives only through its recording.