The work of renowned Norwegian traditionalist musician Einar Selvik should be known to all who orbit the world of Metal, Folk, movie and gaming soundtracks, and the like. Wardruna arose from Selvik’s desire to reach beyond the fetters of modern distorted Black Metal and touch the very soul of a people. Across five albums, he has used nothing but homemade or custom-crafted instruments to harvest the ancient spiritual past of Norse mythology and distill it into the modern dystopian world of today. On January 24, 2025, album number six shall be issued via Sony Music and by Norse Music once again. Called Birna, this album explores the storied relationship between man and bear.
Selvik again collaborates in Wardruna with Lindy Fay-Hella, whose stunning voice has added so much to the Nature-inspired mix of music across these years. Numerous guest appearances are made on the album, playing instruments such as the willow-bark flute and the jaw-harp and being joined by the Koret Artemis Choir. In this recording, Wardruna incorporates a great deal of sounds from Nature.
Followers of the band’s work will no doubt be familiar with the dynamic, moody, shifting Runaljod trilogy of albums, the first complete works that served to open the world to Selvik’s vision. His emotive voice, from the meditative cadence of songs like “Jara” to the scintillating “Fehu” across to the pure yearning heartache of masterpiece “Helvegen,” showcased the reach and daring of this endeavor. Birna appears to be an effort to expand upon these methods. The slower, measured heartbeat of the wilderness instead is the fulcrum about which the album revolves. 2021’s Kvitravn album seemed to be moving slightly in this direction, so it should not come as too much of a surprise.
Opener “Hertan” mimics the rushing heartbeat of the bear character, as deep percussive ruminations herald the use of the choral vocal approach. We have seen this before, and Selvik makes good use of it here. This song is a vibrant piece of lovely bravado. One can picture the rippling chestnut muscles of an ursine form moving through berry-rich autumnal woods. Male vocals and the ensuing Koret Artemis Choir bring this song to a heartening climax.
On the title track, Fay-Hella makes her appearance. Her voice is as mystical and engaging as ever. The deep horn and skin drums set quite a mood. Selvik’s voice coming in over the din is sure to increase the pulse of the listener. The song sets off a distinct feeling that something is coming. It trades off with Fay-Hella’s dulcet affectations, and as horns and orchestral flourishes bring it to its end, the old thrill of a Wardruna album takes shape before the listener’s ears.
“Ljos til Jord” solidifies the presence of the choir, with deep chanting and flute creating more of a lilting atmosphere. There are newer sounds on offer here, showing that Selvik does not wish to rest on past laurels, while the drum cadence and strings remind us of Wardruna’s lays of old. Here, listeners find themselves three songs into what is shaping up to be another solid album. It seems fitting, then, that Birna’s curveball is thrown. A fifteen-plus minute track in and of itself is just fine, but Selvik is emphasizing the quiet sleep of the torpid bear in winter, and it is several moments before we hear a shift or a voice or two. There are fine moments in the song, but it possibly might have acted as less of a momentum-killer had it slotted in at the album’s end. Admittedly, this is opined by someone who did not write the album; its place in the story may quite simply need to be here.
By the time “Jord til Ljos” and “Himinndotter ” have sifted through the ear, they restore the reverence and divinity that mark Selvik’s career-spanning diligence. The latter, especially, makes good use of multiple singers to ignite a reveling, mystical energy into affairs.
The delicate acoustic “Hibjørnen” passes by, pleasant but not riveting. It is followed by the loping swagger of “Skuggehesten” with its wild, almost Metal-like vocals, creating a ‘Wild Hunt’ mood of awakening, ravenous restlessness. The slow build of “Tretale” once more shows that Wardruna is all about winding its songs to crescendos. They are very good at it, and what may at first appear like repetition reminds us – it freaking works. “Lyfjaberg” concludes in a hypnotic fashion; the visuals of a mad dance ritual around a bonfire that can barely hold back the winter night are all but wrought. Could there be a bit of streamlining in that longest track? Perhaps. But reverential majesty pervades once again, and for that reason, Cryptic Rock gives Birna 4 out of 5 stars.
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