Sometimes the atmosphere of an album is the most important aspect. Wardruna thrives on ambience, on raising the hairs on the back of our necks. Their new album Birna released today, January 24th, and though it took some time for me, I’ve really begun to appreciate it.
Wardruna has been around since 2003, and I think they are one of those groups that everyone knows, though maybe not everyone has given them a try. The group itself includes Einar Selvik and Lindy-Fay Hella primarily, with Eilif Gundersen, HC Dalgaard, Sondre Veland, John Stenersen, and Arne Sandvoll in active roles, and there are guest appearances that bring choir, willow-bark flute, vocals, and jaw-harp into the mix.
Birna is a dark and mysterious album. The band plays Nordic folk music and puts an emphasis on using traditional Nordic instruments to do so. Their music isn’t metal-related whatsoever, but I find that metalheads love the deep choral vocals, the tense textures, and the whispering cinema that they create.
For me, I think Wardruna is at their best with Einar’s vocals wreathed by Lindy-Fay’s haunting backing vocals and a sinister, shadowy atmosphere. This album is a ritual of the deep woods, Einar himself having written it to be the “voice of the bear”, and so it has girth and power. I can’t understand a word of the lyrics, but somehow, I can still feel the drama and the majesty.
Birna is a long album about an hour and six minutes in length. It can often feel like it, too, which I think is why I had a difficult time absorbing it. “Dvaledraumar” (Sleep Dreams) hits at the fourth spot and is over fifteen minutes long, which adds to the feeling. However, the more I hear it, the shorter the album seems. And “Dvaledraumar” is a great, soothing piece of darkness and also peace, like the hibernation of the soul. At this stage, it could go on forever, and I’d be fine with it.
One of my favorite tracks comes right before it, though, called “Ljos til Jord” (Light to Earth). It has such a beautiful balance of layers; I like when Einar sings in a lower octave and Lindy-Fay sings above him, creating a cinematic and enchanting tone. I can’t get enough of it right now. Then there is its sister track, “Jord to Light” (Earth to Light) that has deeper choir vocals, and while still haunting, it feels more like ritual and soil, a perfect contrast.
Some other favorites come later. I really like “Himinndotter” (Heaven’s Daughter) with its expressive, prominent lead vocals and almost joyous sound. I like “Skuggehesten” (The Shadow Horse) for its earthy, sweaty rhythm and creepy vocals. I also really like the closer “Lyfjaberg” (Medicine Rock) for its sense of finality, healing, and subtlety; I like how the last few minutes contain a subtle melody that you might not notice the first time, but soon it will seduce you into its web of complexity.
Wardruna are true to themselves, and Birna is a rock solid new offering. Their strength lies in the layering of their ideas and in the wonderful instruments, and the greatest moments are full of organic light that is inspiring and take us to hidden places full of wonder. Those treasures tend to show themselves more with each listen.
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