Exploring The Sounds Of Nature With Wardruna On Stereoboard (Interview)
Wednesday, 10 April 2013
Written by Ben Bland
For most of us, the sounds of Wardruna are in direct contrast to what we associate with contemporary music. Their use of traditional Norwegian instruments and the sounds of nature itself all combine to create something wholly other, and yet strangely familiar. Project leader Einar ‘Kvitrafn’ Selvik tells us more...
First and foremost, how would you describe Wardruna’s sound to somebody who had never listened to the records? This is something many a music journalist has been struggling with!
Describing the music is at least better that trying to label it into a distinct category. I would say that Wardruna is music that seeks to convey something very old in a new way. The sound is ambient, visual and solemn and blends into a cultic folk music with a heavy Norse twist.
What would you say is the driving inspiration behind Wardruna’s music?
The inspiration comes mostly from within, nature and from the themes and sources I base my music on. My drive and dedication to this is also lifted by a strong wish to present the old Norse pagan culture in a way that allows one to take it seriously where it’s stripped of all the cartoonish and stereotype presentations that very often have little to do with reality.
From my limited understanding, and please do correct me if I am wrong, Wardruna’s music is based on each of the runes of the Elder Futhark. How exactly does that work? Is it largely to do with the lyrical content? I’ve also read that you record sometimes in locations that have particular significance to some of the runes...
With the ongoing Runaljod trilogy we search in the scattered ruins of our Norse Nordic history, using the runes of the elder Futhark as a tool to shed light on and to understand the pre-Christian philosophy and way of living. Basically it´s about man’s relationship to nature, to each other and to something bigger than us – things that most people can relate to and also thing that are just as relevant today as they were 1500 years ago. The idea is to interpret each rune as much as possible on its own premises. That means that we use poetic metres and language, instruments and sounds and record in places and under conditions that are all relevant and complimenting to the given rune we are portraying. That means if I am working with the rune representing the birch tree I record in the forest playing on birch trees and so on.
The new album, to my ears at any rate, seems slightly more abrasive than the first album, especially in the percussion department. Is that something you agree with? Is that a conscious development in sound?
Yes. If you listen to ‘Gap var Ginnunga’ you will hear that there is a progression in the songs throughout the album and that progression continues onto ‘Yggdrasil’. On the new album I have also focused more on the poetry and worked more after the Old Norse poetic metres and even written lyrics in proto-Norse tongue.
One of the things that really appeal to me about Wardruna’s music is the unusual (by contemporary standards) instrumentation. Do you see that as one of the most important characteristics of Wardruna as a band?
Well one of the reasons for me wanting or needing to do this project in the first place was that I strongly felt that it was about time someone handled these themes with relevant sounds and instrumentation. I make music that I want to hear myself and that is in my opinion a very important and fruitful starting-point for any musical group that want to make something interesting for others as well. For me it is also important to go into the songwriting almost with a child-like approach daring to go where the song is taking you without considering rules and patterns.
Could you perhaps tell us a little bit about some of the more unusual instruments you have used on the new album?
I have used different types of horns (for example, Goat-horns), as well as the Kraviklyra which is an ancient Norwegian harp and the Tagelharpa that is a very old type of fiddle strung with horsehair strings. There are a lot of drone sounds on the record that are created using these instruments. I have also used a lot of trees that are recorded in the forest, along with stones, shakers made of deer hooves, leaves and also barley amongst other natural things.
People talk a lot about the black metal scene in Norway and obviously Wardruna have black metal connections but, for me, the music of Wardruna is just as atmospheric and dark as any black metal albums I have heard for some time. Would it be fair to say therefore that there are certain similarities in atmosphere between your style and that of many Norwegian black metal acts?
Back when black metal was an interesting genre there where two very important factors that one can clearly link to Wardruna. The first thing is that it was always about much more than just the music. The second thing is that the atmosphere you create is much more important that how well it is played or how “good” your sound is. Today black metal is more technique based and more about how fast you can drum or how good your guitar sounds which of course makes the whole thing less interesting, at least in my opinion.
You’ve just announced a debut UK show at Queen Elizabeth Hall in October, which is a pretty prestigious venue to be making such a debut at! How important is it to you that Wardruna only perform live in venues where the acoustics are suitable?
I am very satisfied with having the Queen Elisabeth Hall opening its doors for us to perform. Ever since the start I have been very decisive about how I wish to present Wardruna to an audience. The acoustics are not necessarily the most important thing but when playing in a place that compliments the musical expression and enhance it, the chance of creating something special both for the audience and us is much bigger.
What plans do Wardruna have for the future? I understand there is one more album of the ‘Runaljod’ trilogy to come. Has work on that album already begun? Will Wardruna continue even after that record?
Although Wardruna will not do undertake large-scale touring we are planning to visit some new places in the time to come. I have a lot of plans and ideas for the last album in the trilogy but I Have not started working on it actively. There are many projects and plans in store for Wardruna. It is too early to talk about that now but what I can say is that the Runaljod trilogy is just the beginning...
‘Yggdrasil’ is out now via Indie Recordings (read Stereoboard's review here). Wardruna play London’s Queen Elizabeth Hall on the 24th October.
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First and foremost, how would you describe Wardruna’s sound to somebody who had never listened to the records? This is something many a music journalist has been struggling with!
