Posts Tagged ‘Wardruna’

By Norse – 26th November 2021

Christopher Nosnibor

Hildring is the second album by Wardruna vocalist Lindy-Fay Hella with musicians Dei Farne. It’s been a long time in the making, with ‘Taag’ dropping as a single back in the summer of 2020. But what is time when the world is off its keel and the world is spinning at a different pace, one so rapid we’ve lost touch with our innermost selves? Lindy-Fay Hella and Dei Farne connect with a past world, a time before technology: not necessarily a more primitive time, but a time in which there was a closer connection to earth and nature, and also to the inner self, the core spirit.

‘Hildring’ is the Norwegian word for mirage, and it’s fitting, for despite the solid, tribal percussion that dominates the sound, paired with solid, chunky basslines, the remaining musical elements are fleeting, flitting, mellifluous, transient, impossible to grasp a firm hold of.

That isn’t to say the album is all airy atmosphere and no substance: quite the opposite, in fact, there’s a sturdiness and density to the richly layered compositions, and it’s a very fine balance of the seemingly separate elements, namely the solid, and the ethereal and airy. The drumming is immense, ribcage-rattling, rousing. There is a wonderfully rich, earthy quality to Hildring. In keeping with Wardruna’s quest to explore Norse cultural and esoteric traditions by delving into ancient history and mythology, so in this collaborative project Lindy-Fay Hella continues that focus. The sound is modern, but the album is deeply evocative as echoes of the ancient resonate forward through every note, and you feel the aura of generations past around your being as you listen. It resonates in ways beyond expression, beyond lived experience. It’s deep, and it’s powerful, and strikes a resonant chord from the off with the percussion-led title track, where soaring vocals and a driving bass melt together amidst spacious waves of sound, and it sets the bar and the form.

In something of a shift from the overarching style, ‘Insect’ feels rather more overtly electronic, with skittering glow-worm flickers flitting hither and thither, but it’s still packing a rare emotional intensity.

‘Compositionally, ‘Briising’ is minimal; drums, bass, sweeping, droning synth, and incidental cymbals accompany a balanced, inwardly-focused vocal performance. There’s a menacing, growling vocal that is again otherworldly, and if not scary, then unsettling. ‘I return to fire’, he repeats in a dark, gravelled monotone.

‘Taag’ goes big on the expansive sound, and it’s sweeping, immense, immersive. It’s bordering on the grandiosity of post-rock, and propelled by urgent drumming. Elsewhere, the sparse, looping synth of the appropriately-titled ‘Otherworld’ is relentless and resonant.

Throughout, Lindy-Fay’s vocals are outstanding, and the album showcases her remarkable vocal dexterity. Often light and airy and floating and soaring above all layers of human perception, Hildring is magical, mystical, beautiful, majestic, and powerful. There, I managed to not to use ‘epic’!

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Dreams are one of the guiding inspirations on the new album from Norwegian collective Lindy-Fay Hella (Wardruna) & Dei Farne and today they share the imaginative new video/track ‘The Lake’ from their forthcoming album Hildring (By Norse, 26th November).

About the meaning of the song, Lindy-Fay comments, “The Lyrics for ‘The Lake’ are taken from one of my cousin Roy’s dreams. We have been discussing the dreamworld for many years already. So, to my big surprise, I discovered that [director] Gaui’s story for the video also was directly taken from a dream. When eating breakfast at his and Marita’s cozy home in Faroe Islands, I asked: "The story for the video is very beautiful, how did you come up with that?” Gaui replied: “ Oh well, I dreamt about it. It is just taken from a dream.”

This kind of charming synchronicity is very befitting to Lindy-Fay Hella & Dei Farne, who have created a record which celebrates the power of all of our senses and encourages listeners to seek the magic in our surroundings, awakening curiosity and our sense of wonder.

Check out the official video for ‘The Lake’ below:

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Lake

Photo Credit: Raina Vlaskovska

Music For Nations – 22nd January 2021

Christopher Nosnibor

Wardruna were recently the focus of a rather unexpected article on ‘the rise of dark Nordic folk’ in The Guardian. It was largely positive, about how a largely obscure underground scene was reaching a wider audience, and emphasised the elementary influences of the distinctly non-metal genre. It was a feature that also doubled as a plug for new album Kvitravn, which, we’re told, is a continuation of the Runaljod trilogy in musical terms, but at the same time marks ‘a distinct evolution in Wardruna’s unique sound’.

And it is indeed a unique sound, and the album begins with haunting acapella vocals and rumbling atmospherics before picked strings and pounding martial drums fill the air with bold patterns. The sense of scale and depth that characterises the album as a whole is brought to the fore from the very start. More than this, it’s a sense of something primeval and non-linguistic that pervades Kvitravn. Like many listeners, I have no comprehension of the words, which are sung in elongated vowelly drones, the voices coming together not so much in harmony but in throng. And there is something immensely powerful about that. I suppose that the voice as an instrument taps into some deeper consciousness and resonates on a level that’s more genetic or spiritual than gnostic.

Tense and mournful violins provide the main accompaniment to the lugubrious vocals on the six-minute title track. It’s the roar of the sea that brings the arrival of the funereal shanty that is ‘Skugge’. The thumping motoric ‘Fylgjutal’ with its brooding bassline and repetitive guttural vocal growling is incredibly Germanic, and referencing Rammstein doesn’t seem entirely inappropriate here in terms of connecting to anyone unfamiliar with Wardruna: the drums pummel and it’s intense in a relentless way, battering away for the majority of its expansive seven and a half minutes before taking a more poet-rock turn to the close. It all drives forward toward the ten-minute ‘Andvevarljod’ or ‘Song of the Spirit-weavers’ which is epic in every sense and encapsulates the album within a single, immense track.

The instrumentation is, by and large, spartan, and if the string arrangements connote more traditional folk, then ethereal droning backdrops and tribal drumming hark back to something more traditional still – that is to say, that what we commonly associate with ‘traditional’ is often fairly modern, and that all too often our sense of history and skewed and myopic.

Kvitravn evokes images of forests, of caves, of barren mountain tops and vast expanses of moorland, and wide open spaces without people… the occasional wolf or bear, maybe, but a preindustrial world, of wildness and wilderness. And while it does have a certain ‘soundtrack’ feel to it, nothing feel forced or artificial. Kvitravn doesn’t feel like an ersatz replica of Nordic dark ages, but as if it was actually created there and has leaked forward through time to the present, untouched. As such, it’s a moving experience.

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Wardruna today share the title track, and pinnacle moment of their upcoming album, Kvitravn (meaning White Raven). A music video produced by Ragnarok Films reveals a powerful narrative centred around this sacred, elusive creature, and namesake of the album.

Dramatic scenery unfolds from a bird’s eye perspective, and enchanting images of this rare animal are captured, as we follow Wardruna founder Einar Selvik and vocalist Lindy Fay-Hella through the wilderness. As the video unfolds, a question arises, is this sighting only good fortune, or is it destiny?

About the song "Kvitravn", Wardruna founder Einar Selvik states, “I am very excited to finally share this song with you. “Kvitravn” is a song that explores traditions of animal-guides and the symbolism and legends of sacred white animals found in Nordic- and other cultures all over the world. These highly regarded ghostly creatures, whether a raven, snake, bear, moose, reindeer, elephant or lion – are in animist traditions seen as prophetic, divine messengers, and guardians representing renewal, purity and a bridge between worlds.”

Einar Selvik continues, “Being fully aware of how rare it is to come across white ravens, we knew from the start that this would be an ambitious and challenging task to pull off. However, fate seemed to be on our side in this and the “impossible” piece of the puzzle fell into place as if gifted from the divine.“

Watch the spectacular video here:

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When circumstances forced Wardruna to postpone the release of their upcoming album Kvitravn, it was clear to them that they still wanted to release new music. Music and art can potentially carry great meaning in times of uncertainty. They decided that now was not the time to stay silent and headed straight back into creative mode and the studio to write and record the song "Lyfjaberg".

The Old Norse word Lyfjaberg means Healing-hill or Healing-mountain and is known from Norse mythology and the Eddic poem Fjölsvinnsmál as a place of comfort and cure for the ‘sick and sore’ who manage to climb the mountain and bear offerings at the shrines there – a gift demands a gift in return.

The video for "Lyfjaberg" was mainly filmed in the mountains at Tustna in Norway. The band shot the video in early May, when all of a sudden winter decided to return with full strength and they ended up wading in half a metre of snow for three days and nights. On many levels, the process of making this video reflected the meaning of the song itself. They all had to climb a few of their inner mountains to get it done.

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Wardruna