In short, the ambitious idea behind the trilogy was to create musical interpretations of each of the twenty-four old Nordic runes. It proved to be a lengthy and challenging task. Some of the material on the album even date back to 2003 and the early stages of the project, when multi-instrumentalist and songwriter Einar Selvik started to develop the genre-defying sound and style that Wardruna have become known for. It is a contemporary sound, but one that is characterized by the use of old and historical instruments like Kraviklyra, taglharpe, goat horns, birch-bark lures and more. The vocals range from whispering voices to melodic song and mighty choirs. All performed with sincerity and conviction.
Musically and conceptually there is a clear continuity between all three of the albums, but with time and experience comes refinement. And new elements have certainly been added along the way. Most notable on "Runaljod – Ragnarok" is the use of the Scandinavian bronze lures, whose iconic sound and appearance make them a perfect fit with Wardruna’s instrumentation and concept. Special guest performances by Einar’s own children and Skarvebarna children's choir must also be noted.
