To put into words what HEILUNG is about… is challenging. There would be much to say, to question and to philosophize, about used sources, runes and interpretations. One could quickly get lost in all the details the band and music has to offer. I recommend to better lean back and to enjoy the magic of the music.
And there is magic everywhere. HEILUNG is an overall concept consisting of music, voices, lyrics, performance, language, expression, atmosphere and instruments. Everything meshes on different levels. Every aspect, every detail is important and perfectly elaborated, evoking different reactions and emotions, depending on the listener and its surrounding. To comprehend and encompass all that is a difficult task.

HEILUNG are one of a kind. They create feelings and an imaginations far beyond of bands such as Tenhi, Hagalaz' Runedance or Of The Wand & The Moon, who once paved the way for such bands as HEILUNG, Wardruna and others.
HEILUNG see themselves as an artistic approach to the archaic cultures of humans during the Bronze, Iron and Viking Age, based on original artefacts, texts and runic inscriptions. The interest in that age and skaldic history brought Christopher Juul, Maria Franz and Kai Uwe Faust together, forming HEILUNG in 2014 and releasing their debut Ofnir one year later, yet unnoticed by the many. It have been the spectacular live shows that eventually created a hype around the band. Nordic mythology was always popular, shamanism joined; now reaching the mainstream music-wise.
The multinational trio melts traditional instruments with geophonic recordings, modern sounds and the noise of battles to tribal like mesmerizing rhythms that might put the listener into a meditative state of trance, which is intended. The effect the music has on the listener is indeed phenomenal. Go and experience yourself. The band's name is a mission.

While the debut album Ofnir (other name for Odin) marks the masculine approach, the epic Futha (the female, the mystique) is meant to be the feminine counterpart. Though, Futha does not differ much from Ofnir. Nine tracks, same structures. The ethereal voice of Maria Franz was brought to the foreground on almost every song, dominating the wonderful Norupo and the likewise stunning Svanrand. Both songs are my personal faves on this record and are, for my taste, way too short. Of course, the male part is still existent. Kai Uwe Faust snarls, screams and whispers, and recites Vapnatak and Elivagar (both dispensable to me). Overall, there is not much difference between the masculine and the feminine record. In retrospect, Ofnir could have been wilder and more animal. Futha again is livelier, the production more powerful, and, as for me, the stronger record.

Futha is once again an extraordinary journey through the „amplified history from early medieval northern Europe". Close your eyes, take a deep breath and let go. Feel the warmth of the ritual fires on your face, feel the cold steel of your sword in your hand, and feel Mother Nature giving you everything you need.