Wardruna

After many years of working with and studying runes and the ancient and ever young Norse pagan beliefs, the need for me to do a musical project like Wardruna became inevitable. In early 2003 I began doing the first recordings. From then on the concept and methods has slowly evolved and fallen into place. Wardruna search in the scattered ruins of Norse history and use the runes as a tool to understand and evoke the depths of the old nordic pagan beliefs. Musically, the main focus is on recreating the Norse cultic musical language and the near forgotten arts of galder and seidr, as well as the daily acts of life. This is mixed with impulses from Norwegian/Nordic folk music and music from other indigenous cultures. Runaljod – gap var Ginnunga is the first part in the Runaljod trilogy. Each album features eight runes of the Elder Futhark, but not in accordance with the order of the three aettirs (families), which is most common when working with this futhark. Many of the recordings have taken place outdoors at locations relevant to the different runes. We have primarily used old, historical instruments such as self-made frame drums and ceremonial drums, mouth harp, tagelharpe ('viking fiddle'), flutes, goat horns, tongue horns and Hardanger fiddle. Also more unconventional inputs like trees, stones, bones, water, fire etc. are employed to enhance the nature of the rune being 'portrayed'. Keeping in mind that there will always be a certain room for disagreement and discussion when working with the runes, I would like to emphasize that in my songs it is not necessarily a goal for me to approach the respective rune from every conceivable angle, nor to unravel all the different aspects of it. My approach is both of runologic and mystic nature, but I concentrate on the core of each rune and the qualities that serve the whole concept and purpose of Wardruna best: sowing new seeds and strengthening old roots!