Runaljod - gap var Ginnunga

If music could be the embodiment for the terms “relaxation” and “tranquility”, this debut full-length by Norwegian ambient/folk group Wardruna entitled “Runaljod – gap var Ginnunga” would be just that. This is definitely one of the greatest albums I have ever listened to and is composed so perfectly that every time I listen to it, it blows me away like the first time I heard it. This album appears to have been recorded over quite an extensive time period, with production beginning as early as 2003. Finally released during the frost of 2009, this album was apparently even recorded in various outdoor locations for certain segments of the songs.

Kvitrafn, a previous drummer of Gorgoroth, is this project’s frontman. He handles all the instruments, as well as vocals, samples, lyrics, and overall songwriting. He is not the only piece of this group, however; Gaahl, also formally of Gorgoroth, provides additional vocals. In addition, Lindy Fay Hella provides female vocals and Hallvard Kleiveland provides the songs “Jara” and “Algir – Stien klarnar” with a Hardanger fiddle. The vocal delivery here is really an interesting aspect. Gaahl’s voice is quite haunting and dark, especially when paired with the lovely female vocals. Kvitrafn’s vocals tend to be softer and add to the choir-like effect.

Being an ambient album, we hear a lot of really neat instrumentation that relies on more of a ritualistic atmosphere rather than one of technical precision. Tracks like “Laukr” give us an atmosphere and feeling of nature with samples of a waterfall and some distant percussion, and of course, the haunting yet satisfying vocal delivery. Percussion seems to be a heavy element utilized here. Take the track “Hagal” for example. As its 7 minutes progress, the percussion gets heavier and more prominent. A lot of these songs borrow similar ideas from each other, as “Heimta Thurs” sounds fairly similar to the previously mentioned track with its percussive elements. In this case, this is very effective. It makes the 52 minutes of this album seem to flow into one gigantic ambient track that breaks up into new yet familiar musical ideas.

This album definitely has that “old Norse tradition” feel to it. The lyrical concepts revolve around ancient Nordic runes and Norse Paganism, making for a really neat storyline. Like I said earlier, this album was partially recorded outside. The reason for this was to capture the atmosphere and ambience belonging to each of the runes. We hear a lot of natural noises and soundscapes, such as wind, water, and the chirping of birds. I was really blown away by the creativity Wardruna took with recording this masterpiece. It’s absolutely perfect, and I love when the occasional mouth harp makes its presence known, giving the ambience a huge touch of traditional Nordic folk music.

I was originally compelled to listen to this album after watching the “True Norwegian Black Metal” documentary that surrounded itself primarily around Gaahl. Wardruna’s music was used extensively in that film and after finding out what it was, I immediately listened to this work of art. The second installation of this trilogy titled “Runaljod – Yggdrasil” was finally released four years later in 2013 and is a mighty work of art as well, sounding exactly like this album but also feels like a breath of fresh air all at the same time. I can’t wait for the final album of this trilogy to come out. Wardruna is definitely one of the greatest projects to come out of Norway and I’d recommend this album not only to fans of ambient or neo-folk music but fans of music overall and those who really enjoy interesting lyrical concepts.

Wardruna is a project fronted by Einar Selvik, better known in metal circles as Kvitrafn. After drumming for several Norwegian groups, including Gorgoroth, Bak De Syv Fjell, and Sahg, he decided to take his musical aspirations one step beyond. The first piece of a conceptual trilogy, Gap Var Ginnunga is a thematic exploration of the ancient Norse runes; the Elder Futhark. Each track is a sonic representation of what Selvik feels is the mystical and spiritual connotation of a particular rune, which in addition to serving as the Norse alphabet, were said to be of divine origin and imbued with magical power.

On this initial piece of the Runaljod (or “sound of the runes”)-trilogy, Selvik is joined by Hallvard Kleiveland on the traditional Hardanger fiddle, and the vocal contributions of Linda Fay Hella and black metal frontman Gaahl. Selvik himself plays all additional instruments, including a large variation of traditional and home-made percussion equipment, goat horns, mouth harp, samples, and throat-singing. To attain the proper ambiance suited to each rune, some of the recordings were apparently made under the open sky, in forests and in the mountains. Consequently, the album is filled with the sound of birds, flowing rivers, gusts of wind, and plenty of other organic touches.

Musically Gap Var Ginnunga is difficult to nail down, as each song tackles different themes. Parallels can be drawn to contemporary acoustic folk acts like Finland’s Nest or Tenhi, but with a definite Norwegian bent. Through their uniquely esoteric atmosphere, Wardruna is not only the sound of the darkest woods and deepest valleys, it is a sonic journey into what the Norse called “Ginnungagap”, which can be roughly translated to “The yawning void”; the primordial void which existed before the universe was created. Wardruna is a meditation on the mystical and sacred powers which was said to exist within this void.

Tranquil ambient soundscapes are elevated by the gorgeous Hardanger fiddle, while Gaahl’s voice is downright ritualistic in its strict rigidity. Entrancing chants, performed predominantly in old Norse, flow effortlessly between the beautiful vocals of Hella, and Selvik’s enigmatic whispers. All of this is spun together with the powers of the runes, and the earthy sounds of pre-Christian Norway. Of course the historicity of a musical piece like this will always be largely revisionist, but using the runic mysticism as a way to interpret and experience nature gives Runaljod a timeless and ethereal character.

All the elements of Gap Var Ginnunga are woven together so masterfully that it’s baffling how Selvik used to be known only as a drummer. Many neofolk and folk-ambient projects have attempted to channel nature and pagan themes, but very few, if any, can boast such a magnificent and humbling atmosphere. If your only exposure to Wardruna is through the History Channel’s hit series Vikings, now is an excellent chance to dive into the primordial void of Runaljod. In fact, everybody ought to hear this masterpiece at least once. Still awaiting the final piece of the trilogy, this reissue is a welcome reacquaintance.


Written for The Metal Observer

If you're really into long walks at night time in the woods while listening to something ambient, then Wardruna's "Runaljod - Gap Var Ginnunga" is definitely for you. I'm the type of guy that listens to bands like Ensiferum, Megadeth, Amon Amarth, and Immortal...you know, bands that play extreme music. I'm into the brutal stuff, that is all. I must concur with myself, for it's boring to listen to the same old stuff, is it not? I decided to pick this album up and give it a listen for I hungered for something new and bold.

This album really made me feel like I was in Middle Earth, like I was on another planet or in another surreal world full of mysticism and fantasy. This album is packed with great Norwegian folk music and ambiance and brings chills to your spine! Most of the songs start out quiet and then progress into a full-on ambient piece with vocals, string instruments, and the beating of drums. The line-up was unknown to me, well, except for Gaahl (ex-Gorgoroth vocalist) and they all delivered and played well. Gaahl had semi-minor contributions as he was featured on three or four songs. They didn't go unnoticed. I'll admit, as much as a great singer he is, he's fucking creepy. As you progress through one song and it nears the end (or oftentimes in the beginning), Gaahl's vocals become present and scare the fuck out of you in a matter of seconds. You feel the anger and evil in his voice, which is always a great alternative from the ambient vocals from the other band members and you don't know whether to pause your Mp3 or to keep listening. I, for one, kept listening. His voice portrays a certain dark vibe where you feel pure evil overwhelm your mentality and thinking. It feels somewhat demonic and melancholic, and other times it feels like a fantasy tale filled with lore and wonder.

This one and only installment is definitely a sensible buy, a great listen, and something new all packed into one giant thing. It's rejuvenating as it feels like a breath of fresh air. Sure it's not as brutal as Nile or Aeon, nor does it contain any distortion from bands like Black Sabbath or Led Zeppelin, but it's a new album that feels old. Old age Norwegian instruments and vocals mesh together very well and it's what makes the album whole. If you dislike an album such as this, then it's merely personal taste and you're missing out.

For the record, ambient music isn't really my thing. With the exception of bands like Wongraven, Aghast, Lord Wind, Rome, and the like, I definitely prefer music that is more percussion-based.

With "Runaljod," Wardruna accomplish a great feat. The music itself is ritualistic ambient, but what sets this apart from acts like Melek-Tha and Mz.412 is that rather than it being a "black" ritualistic ambient, Wardruna's masterpiece is more in the viking-laden ambient folk vein similar to Lord Wind. Pretty much all the instruments that are used here are handmade - as opposed to the synthetic approach of other ritualistic bands. These include the percussion and horns, giving the music a clean, natural sound. The music is still dark as fuck, as the vocals are beautifully haunting, some samples and a fiddle are used, and the rhythms are slow, but droning to the point of orgasmic hypnosis. The vocals are sublime as well, done by (at the very least) three different sources - two male and one female: Kvitrafn handles the cleaner portions of the vocals, whereas none other than Gaahl himself handles the deeper parts and the throaty recitations. Lindy Fay Hella handles all ranges, giving the end result a feminine, earthy facet. All of them have excellent voices.

The music itself is pretty simplistic, hence why it is effective at creating an atmosphere so magical, vivid and emotional. Of course, the imagery of the album packaging, and the Norwegian lyrics definitely help as well. The primitive, repetitive rhythms draw you in mentally, and capture you over the 52 minutes of sonic bliss.

It's hard not to like this album, even if you're not a big fan of ambient, as the band changes the pace up a lot from song to song, so it is highly effective at maintaining your attention. One could definitely trip out to this album, with or without drugs. I will eagerly await the second installment of their trilogy.

(Originally written for http://www.grimedge.com)

Wardruna has been in the corner of my eye for quite a long time now. Kvitrafn (of Gorgoroth and Sigfader infamy) started recording as early as 2003. Bits and pieces of his work trickled out over the next few years, but we finally have the first complete work of the Runaljod trilogy, Gap Var Ginnunga.

The album is magical, both in the literal and figurative sense. As each album in the Runaljod series will do, Gap Var Ginnunga takes eight runes from the Elder Futhark and sets them to music. Wardruna use traditional and hand made instruments, and reportedly recorded in outdoor locations relevant to each of the runes. The end result is a haunting and authentic journey through Norse paganism and a unique ambient experience.

Kvitrafn is not alone in his efforts. Gaahl joins in the vocal duty, along with Lindy Fay Hella, giving Wardruna a terrifying and beautiful method for engaging listeners more than most "ambient" projects are capable of. The vocal arrangements are some of the best elements of Gap Var Ginnunga, though they never overshadow the other parts of the whole. Precussion is effective if minimal, and the melodies delivered by flute, mouth harp, and the occasional fiddle are stretched over the songs to excellent effect.

Gap Var Ginnunga carries a varied pace over it's eight runes to great effect. Often a release of this nature can lose me in it's more minimalist moments, but that has not been the case even once with this album. The slower moments of Gap Var Ginnunga bridge the rest together well, keeping a simple and yet interesting balance between tempos and tones. Gap Var Ginnunga is an album that can serve as periphery stimulation or primary listening - and accomplish the rare in filling either role equally well.

Wardruna have a great success in this album. Fans of ambient music, pagan neo-folk, and other traditional styles will all find something to like here. I was very excited to listen to Gap Var Ginnunga for the first time, after years of waiting. Upon hearing it, I am even more excited for the rest of the Runaljod trilogy. I can only hope it doesn't take another six years to reach us.

This is my first review, so please be patient.

The workings that this album express is quite beautiful when thought upon. The folk inspired ambience heavily capture my attention with its nature and instruments of pretty much its own originality with its unique sounds. The melody of all components combined, along with the over-layering of male and female vocals, create unity and almost makes it seem as if you are there in your own world. Surprisingly Gaahl’s vocals are quite different and very well far away from all his other releases. Gorgoroth, Trelldom, Gaahlskaag and Sigfader, all consist of the usual black metal screams and usual blast-beats. Well there is no trace black metal in this album. So for Gaahl and Kvitrafn, this is a first for me hearing them outside of the black metal scene.

When I first started to hear this album, I won’t lie, I had my doubts. The question, “Jotunspor was already one side band of Kvitrafn and I was very impressed by that. But another? Could it be any good?” kept on running inside my mind. Well, my doubts were clearly wrong. The opening song Ár Var Alda begins out with a blowing of a horn (and to add to it, an actual goat horn) with a brief moment of rain. I then knew right there that this already sounds quite interesting and was pretty much sucking me in deeper into this vortex of rituals and sounds of nature within a musical perspective. The very moment the vocals came in, I was amazed. Choir like singing and ritualistic vocals all pull together this album to paint one picture in my head. This is best heard on the song Algir - Stien Klarnar with its perfect collaboration of male and female voices. And for me, it is the best song in this album. The drums are clearly heard to be known to be deer hide frame drums, which helps keep its tempo and pretty much organizes the entire album. Casually the hardanger fiddle comes in to add even more to this beautiful work. The overall composing of this album is quite amazing, I was never bored, and never wanting to skip any parts. It all flows evenly without any unnecessary excess sounds. The final song Dagr completes the album with a catchy beating of the drums and ties all 12 tracks into one complete story, metaphorically speaking.

In some instances, I am highly reminded of bands like Jotunspor, Moonsorrow and even Týr. So if you are fans of them, then you will most likely enjoy this album. For Runaljod - Gap Var Ginnunga being Wardruna’s debute album, I am very impressed and I am excited to hear the other two of this three part series. I highly recommend this to those who listen to other styles of music. I give this album an overall 95%.