Midgardsblot Returns in 2022 with Wardruna, Heilung, Rotting Christ, Myrkur, Zeal and Ardor, Borknagar and More!

The intersection of Norse-Pagan culture, ancient dark folk music, and metal will take place once again at this summer’s Midgardsblot. Taking place in Norway, 17-20th of August, Ghost Cult is happy to see the return of this essential festival we have covered in the past. Among the headline acts this year are acclaimed acts such as Wardruna, Heilung, Rotting Christ, Myrkur, Zeal and Ardor, Borknagar, Primordial, Einherjer, Arkona, Lindy Fay Hella, Ragnarok, Helheim, Djevel, Urgehal, Koldbran, Konvent, Nytt Land, Kælan Mikla, Gaerra, Lucifer’s Child, Eivør, and more artists to be announced. The festival also includes actors and historical reenactments, seminars, and more! Tickets and camping accomodations are on sale at the link below.

Continue reading

Wardruna Shares New Video for “Kvitravn”

Wardruna has released a cinematic music video for their new single Kvitravn” which is the title of their forthcoming album, due out on January 22nd, 2021 via By Norse Records. “Kvitravn” (meaning White Raven) show the video from a birds-eye view and features Wardruna founder Einar Selvik and vocalist Lindy Fay-Hella. Watch it now.

Continue reading

ALBUM REVIEW: My Dying Bride – The Ghost Of Orion

Hot on the heels of ex-bandmate Hamish Glencross’s latest effort with new band Godthrymm comes The Ghost Of Orion (Nuclear Blast), the fourteenth full-length from Yorkshire Gothic Doom royalty My Dying Bride. This year celebrating 30 years as an entity, any pressure the band may have felt is counteracted by an expectedly assured, emotionally raw performance that comes with such craftsmanship and experience.Continue reading

Skuggsjá – A Piece For Mind And Mirror

Skuggsjá A Piece for Mind & Mirror album cover ghostcultmag

The brainchild of Ivar Bjørnson (Enslaved) and Einar Selvik (Wardruna), Skuggsjá was a project created to celebrate the Bicentenary of the Norwegian Constitution, and A Piece For Mind and Mirror’ (Season of Mist) is the result.

Of course, as everyone outside of Norway is well aware, the country’s two hundredth anniversary was actually back in 2014, and that was when Bjørnson and Selvik were initially approached to perform a collaborative piece at the Eidsivablot Festival in Eidsvoll, Norway (where else?). Going by the name Skuggsjá (which translates into ‘mirror’ or ‘reflection’), the pair decided the project deserved pursuing further. They performed together again at Roadburn Festival in 2015, with them secretly slipping into studios in and around Norway over the year to record material whenever possible.

Joined by the likes of Grutle Kjellson and Cato Bekkevold (Enslaved), Lindy-Fay Hella (Wardruna), and folk musicians Eilif Gundersen and Olav L Mjelva, the band have attempted to contextualise their brand of ‘harder’ music in the country’s two hundred years of history, looking at the cultural traditions and ideals of the nation and how relevant aspects of the past connect with the present. So, nice and easy then.

The band use traditional instruments (most of them handmade by Selvik himself, the multi-instrumentalist even going so far as to skin the hides of animals to make drums) such as the Birch-bark lure, Hardanger fiddle, bone-flute, Goat-horn, Kravik lyre, and Tagelharpa as well as all the usual instruments associated with the more contemporary genre of Black Metal. There are some modern electronics in there too, while the lyrics are a combination of early Scandinavian, Norwegian, and Norse.


Skuggsjá, performing at Roadburn 2015, photo by Susanne A. Maathuis

This isn’t an album to be dissected track by track, but rather one that should be enjoyed as a whole, ideally listened to in a single sitting and free from distraction in order to fully absorb its magic. While relaxing during its more atmospheric parts, it’s easy to allow yourself to be transported to the edge of a cold Norwegian shoreline, looking out to sea as longboats silhouetted against the moonlit horizon move silently inshore, shrouded in a thick, ethereal fog. Er… well, anyway. It all sounds very, very Norwegian.

The heavier sections, most noticeable during ‘Rop Frå Røynda – Mælt Frå Minne’ and the ten and a half minute Bathory-esque ‘Skuggsjá, complement those instrumental, occasionally narrated parts perfectly, dropping in at the right moments, hitting you hard and never outstaying their welcome. Sometimes though, like with songs such as opener Ull Kjem’, or closer ‘Ull Gjekk’, it’s the traditional instruments and different vocal styles, rather than the distorted guitars or blastbeats, which create the greatest, most lasting impact.

None more Norse.



[amazon asin=B01ANTG1CI&template=iframe image1]


Wardruna Releasing Yggdrasil on February 24th

wardruna digibook

Wardruna is releasing the second release of the Runaljod trilogy called Yggdrasil on February 24, 2015 via Indie Recordings.

The ongoing Runaljod trilogy, which began with 2009’s Gap Var Ginnunga, is a musical rendition of the twenty-four runes in what is often referred to as the “elder futhark.” Some of the oldest of Nordic instruments such as primitive deer-hide frame drums, kraviklyra, tagelharpe, mouth harp, goat horn and lur are implemented, while poetic metres and lyrics are written in Norwegian, Old Norse and Proto-Norse tongue. Some of the recordings are captured outdoors or under circumstances of significance to each rune while other sources of sound like trees, rocks, water and torches are used. All of these elements are carefully woven into a rich musical landscape and complemented with whispering voices, melodic song and mighty choirs.

With Yggdrasil, multi-instrumentalist and songwriter Einar Kvitrafn Selvik has, together with vocalists Kristian Espedal (aka Gaahl) and Lindy-Fay Hella, managed to create a strikingly beautiful and intense continuation of what was started with their first album, but without falling into the trap of merely repeating themselves. Yggdrasil is also graced with guest appearances by renowned Icelandic composer Hilmar Örn Hilmarsson and Iceland’s leading rímur singer Steindór Andersen.

Yggdrasil was written and recorded by Kvitrafn from Spring 2010 to Winter 2012 at his own Fimbulljóð studio and various outdoor locations and will be made available for the first time in CD-digibook format via Indie Recordings on February 24th, 2014. The Yggdrasil digibook is the only version where you can find complete lyrics with English translations as well text on the runes.

Wardruna on Facebook
Wardruna on Merchnow

Return To Yggdrasil – An Interview With Wardruna


Wardruna, by Susanne A. Maathuis Photography

A student of the Runes and a self-confessed “history nerd”, Einar “Kvitrafn” Selvik has brought the ancient Norse sounds of Wardruna to life in modern times. Ghost Cult scribe Ross Baker caught up with him to discuss strange instruments, history and where Selvik’s maverick vision will take him next.

Wardruna uses so many unusual instruments to make music from deer-hide frame drums, bone flute, goat and cow horns and Hardanger fiddle to name a few. How did you gather such instruments?

Many of these instruments were made for me by specialists but some I collected from places. It was very difficult to find as not many people make or know how to play them either so I had to teach myself. I am a self-taught drummer and guitarist but things like the bone flute were very different. It was important for me to have all these instruments so the music has the correct feel. It took me seven years to write and record the first album and a lot of that was because each composition relates to a rune and each Rune demands something different.Instruments, sounds and seasons and even specific dates all represent the symbolic power of the Runes we are trying to express the meaning of. When we recorded for the rune that relates to water, we needed to be outside by a river. It is a very time-consuming process recording this band because the conditions have to be just right.


You described Gap Var Ginnunga as “sowing a seed” and Yggdrasil is the tree the Norse Gods meet at. Ragnarok will be the last album of this “Rune trilogy”. Will that be the end of Wardruna’s involvement with the Runes?

Wardruna will always be connected to the Runes in some way. A lot of people misinterpret Ragnarok as what the Christians called Armageddon but it is not that at all. Ragnarok is the great transformation, the end of something and the beginning of something new. The album will signal a change in our sound and how we evolve. How that will sound I cannot say yet.


How do you wish Wardruna to speak to people who may not be familiar with Norse history and culture?

To make a tree stand it must have strong roots or it will fall. Wardruna is not a re-enactment or us pretending to be Vikings, it is about celebrating our roots and culture. This project takes inspiration from our native culture but it is about creating something current and new. It is also important for me to dispel a few myths about the Runes and Norse culture that have been misinterpreted and made almost cartoonish by the media.The image of the Runes has been tarnished by some right-wing racist idiots who have no business using them and only did so for their own gain. I want to give the Runes a voice and let them speak for themselves! A lot of these songs have universal themes about man communicating with nature and the universe. I think people from all cultures can be inspired by that.


The Wardruna song ‘Fehu’ was used in the cable T.V. series Vikings. As someone with a strong interest in history how do you feel about the way the series portrays the Vikings and the culture you come from?

I am pleased with the way ‘Fehu’ was used but it is difficult for me to watch that series.I understand this series was produced primarily for the purpose of entertainment, even though it was on the History Channel but it is almost painful to watch because there are many inaccuracies.The way the Norse worshipped and traded for example were not depicted correctly but I understand this programme was not meant for a history nerd such as me. I do like some of the ways it portrayed the Vikings as they were; farmers and spiritual people with families. They were not just a bunch of barbarians! We come from a rich culture.


Wardruna’s music is steeped in Norse culture. How do you see it translate with people of different nationalities? Do different audiences react in differing ways to your music?

Actually it is remarkably similar. Our live performances evoke very strong emotions in people wherever we perform. I think it is important to have a venue that creates the right atmosphere and allows us to express ourselves.I have seen people crying at our concerts because the music is sometimes very melancholy. Wardruna’s music is very personal and it is sometimes hard for me to share it with people.I know we sing in the Norse language which most Europeans or other nationalities don’t understand but I feel the music has a life of its own and speaks with its own voice. People are clearly hearing his voice as it inspires such a reaction. The response has been overwhelming and it is very emotional for me to perform. This is not just music for the ears but for the spirit, body and mind. We want to create a connection, a non physical dialogue with our audience and I believe we are succeeding in doing that!


The two other vocalists Wardruna utilises are your ex-Gorgoroth bandmate Gaahl and folk singer Lindy Fay Hella. Do they bring anything to the creative process besides their voices?

Well Kristian (Gaahl) has worked with this kind of music on his own for a long time so he has several ideas he can bring to us. I am the main songwriter however our creative process is very organic. It can come from improvisation, a drumbeat, a lyric anywhere! Lindy brings a truly ethereal quality we needed for Wardruna. Her vocals offset ours perfectly and conjure up many different emotions. Our environment is very important for our rituals. Each composition is dictated by the Rune and the seasons and elements it represents. I may write a few parts then bring them to the group or I will gather them and suggest we work on something. It is whatever serves the Rune the best!


Coming from the Black Metal scene do you feel there is any link to Wardruna such as a shared attitude or set of ideas?

Definitely. Many people forget that Black Metal is not about a sound but the idea of doing whatever you want. I got out of playing Black Metal because it became quite monotonous. Suddenly it was all about who can blast harder and who can shred the most on guitar. It has lost all feeling. Wardruna allows me to connect with my roots but also move forward. Our creative process is very intense and inspiring!


What is your vision for Wardruna going forward? Do intend to expand the line up with other musicians?

I want to make it both bigger and smaller. I have lots of plans for Wardruna. Some compositions may be very stripped down and acoustic with minimal arrangements but I also want to add musicians for some things too. I have considered using a choir and more percussionists and I am always thinking about ways we can expand our horizons.


Wardruna – Website

[amazon asin=B00JR4I1TW&template=iframe image1]