My music demands something of the listener, it is demanding music. I think that's a good thing. I'm not chiselling anything in stone or serving you any truths. Even to native Norwegian speakers, my lyrics are veiled. I'm asking questions.

My music demands something of the listener, it is demanding music. I think that's a good thing. I'm not chiselling anything in stone or serving you any truths. Even to native Norwegian speakers, my lyrics are veiled. I'm asking questions.

Music should be demanding for the listener. You can gain more out of it that way. I always try to leave space in the music for the listener to have their own experience of it, so it's not bombarded with only one meaning.

Learning to play old instruments was a challenge. How do you learn an instrument no one has played in hundreds of years? The ones that are used today, I was adamant not to hear anyone else play that instrument. I want to approach them as a child and on the basis of each instrument. I wanted my voice to come through, not someone else's.

In my culture we had songs for everything, and that's lost now. There were songs for when people were born, when they died, when they sowed the field, baked bread and they're gone now mostly. I think we need these songs today. One of the reasons people connect to Wardruna in such a personal way is because there is a need for these songs and for that kind of connection to the nameless. Call it nature, god whatever.

People would be surprised if they knew how shitty my recording situation has been over the years. It took a lot of work to make the music sound ok. Having space where you can't be heard is more important than not being able to hear. If you can't be heard you feel more free when you work.

I can't write or read music. I am self-taught and never learned formally. It can be a curse sometimes but I think it's more difficult for those who need the music to read from than for those who play by ear.