ALBUM REVIEW: “Birna” by Wardruna

ALBUM REVIEW: “Birna” by Wardruna

Formed back in 2003 by Einar Selvik along with Gaahl and Lindy-Fay Hella, Wardruna are a group of musicians all dedicated to creating musical renditions of Norse cultural and esoteric traditions, and they make significant use of Nordic historical and traditional instruments including deer-hide frame drums, flutes, kraviklyra, tagelharpe, mouth harp, goat horn, and lur. Non-traditional instruments and other sources of natural sounds are also used. Each performer brings their own unique set of skills and talents to the overall mix.

Nordic folk has enjoyed a close relationship (and a strong following in) Scandinavian black metal circles, and indeed Einar, and former member Gaahl were both in legendary black metal band Gorgoroth.

The name Wardruna means "the guardian of secrets" or "she who whispers" and they have released five studio albums, the first three based on Norse runes, the fourth was based on the sayings of Odin from the Völuspá and other old Norse sources.

This has now been added to with the release this Friday, of their latest album “Birna”. The title means bear, or more precisely the she-bear, the guardian of the forest. On this album, we leave the urban sprawl of our modern lives and are transported deep into the wilds of the misty forest, on a journey to re-unite with nature.

The she-bear, the warden of the forest, nature’s caretaker, has slowly been driven out of her habitat by modern day society, and she has entered a stage of permanent hibernation. As a result, the forest is gradually dying, longing for its pulse and heart – its shepherd. 

The album opens with Hertan which begins softly, a simple tone underpinning a spoken word intro from Einar, like a ritual welcoming us to the proceedings yet to unfold. The drumming increases and builds as layers of choral vocals get added adding to the ceremonial feel to the track, before Einar’s own vocals are added creating an intensity and sense of power. In a way, it’s almost hypnotic in its feel and sets the listener up perfectly.

Next is the title track of the album Birna, which introduces the great forest beast to us. A single female voice delivers a lament before Einar’s vocals kick in, the lyrics are so evocative of the dilemma faced by this mighty animal, with lines like “Your shape increases, but so does your burden. Perhaps you would like, things to be as they were?”

This mystical sense of the She-Bear lost in the modern world going into hibernation is beautifully presented the musical vibe is one of darkness and distress and the lyrics deliver a powerful sense of emotion: “A change is coming, I feel it in each step. The wheel that turns, calls on me, to enter the earth. To start over again, to walk your trail, to sleep in your den”.

Like the dawning of a new day, next up, we hear the simple sound of rain falling on the forest leaves as Ljos til Jord starts out with a vocal melody which again sung by a choir. With the prominent addition of sounds like flutes and a harp adding to the intricate sonic layers this one has a more spring-like, upbeat feel. As well as the initial rain, the use of wind and water sound effects at the end, make sure you are immersed in the forest world.

In discussing the albums themes and influences, Einar has said that the rhythm of the bear embodies the very circle of life: When winter approaches, it goes to sleep in its den, back to the womb; its pulse slowing, its body encapsulated in an intermediate death. And it is this heartbeat of the dormant bear, around nine beats per minute, which can be felt throughout the “Birna” album.

And maybe this is no better illustrated than in Dvaledraumar (Dormant Dreams) and Jord til Ljos (Earth to Light), two songs take us through the hibernation and the awakening, not just in terms of leaving the bears den, but a spiritual reawakening to the delights of nature – the sense of renewal of spring.

Dvaledraumar starts with a simple horn intro, muted and slow, like the breathing of the bear as it settles down and prepares, followed by a section of almost silence echoing the bears drifting into slumber. It’s around four minutes in (to a 15minute song) before we have any vocals, and they supplement the layers of horn and natural sounds so perfectly - Its beautiful in its simplicity.

In comparison, as Jord Til Ljos (earth to light) starts, a high pitched choral voice echoes the sound of birds singing, bringing in a bright new day. It builds slowly, almost symbolic of the slow return to consciousness from such deep sleep.

Together, these tracks emphasise the cyclical process, so embedded both in nature and the worldview of older cultures, which run deep through Einar Selvik’s every creative work. 

Next is Himnidotter (Sky Daughter) which has that well known Wardruna feel to it, driving by its percussive elements, with Einar’s vocals draped over them supported by a chorus of choir voices. Mid way through is a delightful section, led by a chant like female voice, giving it that ritual ceremonial feel, reaching out for guidance, for a spiritual light to follow. The lyrics cry out for enlightenment and a return to what we knew before, with lines such as “Show me who I was, when I roamed widely. When you roamed freely, before the woodlands vanished, before the rivers were tamed, and the way of mankind turned. Tell me the name you had before, back when the night-sky was your home”. Evocative and emotional in equal measure.

What comes next is something very different indeed to the rest of the albums feel and dynamic. Hibjørnen(The Hibernator) is a very simple song, just lyre and vocals, doing away with all other elements. It’s simplicity conveys the feel of a travelling story teller sat by camp fire telling stories to those around of the forest and of nature. I love its basic and raw nature, a perfect depiction of traditional story telling, where the singer tells of the hibernating bear and how the world goes on around, the seasons change with lines such as “The sun wheels steady on her way, honey dreams spark my throat and palate” and the eventual return of spring and the waking up “The days grow longer in the shrinking den, the shepherds blow horns, and the maidens sing. The blackbird trills its waking song, out there, the world sings waking song. Over land, and over lake …. Out of dens and restful beds!”

Stunning in its simplicity.

Skuggehesten (The Shadow Horse) changes the pace again. A beat derived from the pounding of horse hooves as it races through the forest. The lyrics reflect a sense of fear and trepidation, by describing a rider racing through the dark dense forest, hearing noises, voices, serpents whispering in your ear….. scared and racing faster and faster. Then hearing the ravens cry in the mist, guiding…. helping.

Again here the lyrics are so evocative as they see the light and escape “I see a light, the tiniest flame is all I need. The raven calls clearly now”.

With Tretale (The Voice of Trees) the mythical, ceremonial feel returns with layered vocals backed by lute and flute-like tones. A song about the voice of the trees “from root and pine-needles, sung…. A voice, that chants in a shrouded tongue. A voice, sounding silent in your ear. A voice, one only inside hears”. Again what stands central here is the effectiveness of the vocals which bring it to life and add that element of spiritualism so effectively..

And we reach the albums finale, in Lyfjaberg. Starting with a choral chant with rhythmic drumming in accompaniment, it builds and adds layers throughout its eight and a half minute length. Translated the title means “Healing Mountain” and it brings the story full circle, to embrace the natural world around us with renewed vigour. A song about growth and transformation on a spirital basis “Saddle your soul and let it ride. With blind eyes, you’ll surely find the way. Draw your breath in – let your thoughts fly, Let it out slowly – on winds you’ll bide”.

As you journey up the mountain you pass through stages, losing first your possessions, then time and weighty thoughts, and finally fear, before standing naked at the top, the mountain knows you. As the final lyrical line says “Leave it behind on Healing-Peak, where the rivers and streams dance northwards and down. That mountain mends all those who climb”.

“Birna” is quite simply a tour de force. There are many Nordic folk and traditional acts around, and the narrative is usually dominated by songs of the warrior and Gods, of adventure and myths and legends of Odin and Valhalla.

But with “Birna” Wardruna has set out to tell us a different story, a simpler story, one of the importance of nature. This is something central to Nordic beliefs, as seen through the eyes of the might she bear, the impact on this mystical and wonderous environment by the modern world. In many ways its less dramatic sounding than the swords and myth influenced brand of folk, but that is where this albums brilliance sits, wrapped in the soft, delicate arms of nature.

And this is perhaps the difference with Wardruna, not just re-telling the tales of the past, but using it as an inspiration, in new songs to sow new seeds of growth and wisdom whilst strengthening the roots of the past.

Its hard to explain, but somehow you come away from listening to this, with a greater awareness of the wonders of nature around you, an almost spiritual experience in a way.

A stunning audio experience that transports the listener to another, magical place entirely, for me a perfect ten !

“Birna” is out on Friday 24 January 2025 through Sony Music and By Norse Music, and is available to order now from the Wardruna website HERE.


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Photos (c) Morten Munthe

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