The key to understanding Heilung and their music is the tag the band have assigned to themselves – amplified history. Since their beginnings in 2015, the ritual collective, the latter being another self-coined label, have been aiming at bringing the prehistoric past closer to their audiences. Anybody who had the luck to witness one of their live shows, or their rituals as they choose to call them, will tell you not only that they succeed in their aim, but that they actually outdo themselves. Their shows are truly a unique experience, blurring lines between musical performance and shamanic ceremonies, between past and present. The huge success they have experienced since their now legendary live debut at Castlefest in 2017 comes therefore as no surprise. From an underground whisper they have grown into an entity that is able to sell out venues, an entity whose music is featured in blockbuster productions like Game of Thrones, Vikings and, most recently, The Northman. What comes next? Is further rise even possible at this point? Will their new album Drif rekindle the flame of fascination they have ignited and allow them to access even wider audiences? Or will it signal a levelling out of their efforts? Let’s find out.
As was the case with all previous albums, Drif represents a journey back in time that seeks to establish a musical connection between prehistoric forms of civilization and modern society. But unlike previous albums which concentrated on early forms of culture in northern Europe, Drif includes material originating from rudimentary civilizations outside of Europe, for example Mesopotamia. The band says that Drif means gathering and its collection of songs with different origins stresses the strength that unity and togetherness offer, a sentiment that forms the starting point of every Heilung show, when the audience is reminded that “we are all brothers.”
Musically, Drif is unmistakably Heilung, easily recognizable for long-time fans. Once again authentic archaic instruments are employed, ranging from rattles and bells, percussion and strings to human bones. In addition and as before, there are male and female vocals, employing various singing techniques, throat singing among them. Electronic elements add the finishing touches and create a deeper and denser atmosphere, a more layered soundscape. However, what becomes apparent, and already on first listen, is that the electronic elements are much subtler on Drif than they were on the album’s universally critically acclaimed predecessor Futha. Less electronics makes for a more authentic output, but, unfortunately, also for a less infectious one.
With a running time of almost an hour, Drif gives you ample time and opportunity to connect with our shared past. The nine compositions include, for example, ancient spells and curses, allowing the listener to get in touch with magic practiced during the Dark Ages. A song sung in the Roman Army, performed accurately, with rigidity and efficiency by a group of people, conjures up pictures of early military life. Poems set to music and a love song add genuine sentiment. Every album has extensive explanations and background information accompanying the music, so that you won’t have any trouble at making sense of what you are hearing.
The most harmonious of the nine pieces of music is probably album opener Asja, a love song, making beautiful use of a bowed lyre. These passages successfully transmit deep feelings, like longing and an ancient, profound sadness. Track number three, Tenet, is most likely the song with the most interesting source material and the song that is technically most accomplished. Its melody and lyrics are based on the “Sator Square”, the earliest datable two-dimensional palindrome whose meaning today is more or less guesswork, but whose exceptional rhythm and mantral strength are brought to life once again by Heilung’s song. Once you’ve heard it, you won’t be able to forget it, and, like other mantras, you can use it to calm your mind.
Tracks one to four can be interpreted as a musical introduction to what comes next. They establish a time, a place and a mood. In this setting, track number five, Keltentrauer, is placed, marking the center of the album and bringing the dramatization of a poem in German, written 20 years ago, about a fictional battle between Celtic tribes and the Roman military. The Celts, representing other ancient cultures here, are portrayed as brave and honourable and work towards preserving life. But their courage and noble efforts prove to be of no use. They are slaughtered by the indifferent, merciless Romans, the founders of modern society.
The album’s remaining four songs have an anticlimactic feel. Track number six, Nesso, for example, deals with sickness, healing and grief, employing once again to great effect the bowed lyre.
Heilung’s third album Drif is a captivating listening experience that teaches you about history in more ways than one. It is absolutely worth your while, especially if you only recently encountered the band, their concept, their approach, and their music. If you haven’t seen them perform their ritual live yet, you should do so at the very first opportunity.
However, as a longtime fan, I found that the album, taken purely by itself, outside the context of a live performance, and without added explanations, is of a less engaging character than the material on Drif’s predecessors. The compositions on Futha were able to charm the listener with their melodies, rhythms, atmospheres and harmonies, even without the listener understanding a word of the lyrics, even without knowing any context. With Drif, this is true only for a few of the nine compositions. Closing track Marduk might be exciting to witness live, but as a recording, especially after repeated listens, it becomes tedious and boring. The new album, therefore, while still an impressive example of ritualistic, research-based music, seems to indicate that Heilung’s concept has reached its limits and that their success is about to level out. If the band wants to stay innovative and avoid reproducing past efforts, which, because of their outstanding success, will be almost impossible to top, they will have to come up with something new.
(7/10 Slavica)
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