Review Summary: So what you can’t understand the lyrics? It’s not the end of the world!
First came the collaborative album, “Skuggsja: A Piece for Mind & Mirror”, with Ivar Bjørnson, of Enslaved, to commemorate the 200th Norweigan Constitution; then the absorbing live shows arrived that celebrated Enslaved’s 25th anniversary and Skuggsja’s album release. Furthermore, Einar Selvik has contributed percussion duties and vocals to the doom band Sahg in addition to building a career as a musical composer for the TV series: “Vikings”. Therefore, it’s fair to say that the Wardruna frontman has been a bit busy of late; even if the end of the world draws near.
Wardruna’s trilogy of albums are inspired by the 24 Norse runes of the Elder Futhark. Accordingly, Einar spit the runes into three separate groups, thus creating the trilogy that Wardruna have constructed since 2003. “Gap var Ginnunga” established the immersive tone in 2009, “Yggdrasil” continued the rich visionary characteristics and now “Ragnarok” approaches. Partly named after the Nordic apocalyptic battle that claimed the lives of all, this album is hardly a thundering cacophony of vicious, hostile or desperate soundscapes.
Nonetheless, the album commences with a different form of intensely. A menacing storm and ominous instrumentation instantaneously sets the scene in album opener ‘Tyr’, and this emotive aspect continuously materialises throughout “Ragnarok”. While all ten tracks exhibit some form of atmospheric visualization, unique to every listener, there are some songs that have a particular feel to them. ‘Wunjo’ (Joy) is an animated song where the horns, flutes and percussion increase in pace to create an excitable tone. A similar feeling is felt during ‘Raido’ (Ride) which focuses on a climatic build up of dancing violins, shivering flutes and passionate hymning which, combined, hearken a sense of encapsulating freedom.
There is an earthly corporeal nature to Warduna’s music due to the fact that the band uses traditional Nordic instruments to project this ancestral, Nordic sound. Einar and Lindy Fay Hella’s captivating voices, or the children’s choir during ‘Odal’ (Heritage), also emit an expression of honesty and serenity in their collaboration. ‘Isa’ (Ice) begins with creaking electronics and the recurring sound of ice chipping. However, as the song progresses, this chipping becomes the spine of the percussion arrangements, which then forms a hypnotic beat alongside mournful cries and lamenting wails. The drumming in “Ragnarok” is one of the most primitively tangible features of the album, particularly in the closer, ‘Runaljod’. Every beat can be heard when the stick makes contact with the natural hide, and every beat strengthens the profound bond that Einar fabricates to bind music and nature as one spirit.
Although not as robustly as Wardruna’s past albums, in terms of consistency, “Runaljod- Ragnarok” still proves to be a stirring and engrossing listen. Few artists would be able to create this level of grandeur in this seemingly simplistic manner, and fewer still devote such authentic sincerity in producing it.
