Nordic Magik: Heilung Pays Colorado a Visit in October

Cover Image courtesy of artstation.com

An opinion article by James Rousse:

 

Heilung Plays the Red Rocks Amphitheater in Morrison Colorado

The band named Heilung recently performed a show, or a shamanistic ritual to be more accurate, at the Red Rocks Amphitheater in Morrison, Colorado. The word “Heilung” means healing in German, so this word is the origin of the band’s name. Heilung’s most recent show took place on Tuesday night, the 5th of October. A discussion about the cultural, political, and social impact of Heilung is worth mentioning at some point because Heilung rides on the cutting edge of a current European cultural revival.

 

Who Is Heilung

The official information presented about Heilung mentions that this band was formed in 2014 and the founding members are a Dane named Chirstopher Juul, a German tattoo artist named Kai Uwe Faust, and a Norwegian citizen named Maria Franz. Juul has opereated his own recording studio in Copenhagen since 2003 and Faust was a well-known local tattoo artist before the band formed. The project that became Heilung began when Faust offered to give Juul free tattoos in exchange for recording studio time that was dedicated to reciting poetry.

Juul and Faust were acquainted for years before any artistic collaborations were ever formed because both Faust and Juul were long-time residents of Copenhagen. Before Heilung became an item, Juul ran Lava Studios in Copenhagen and Faust worked as an independent tattoo artist at Kunsten på Kroppen in Copenhagen. Juul and Faust had previously met at several Nordic history fairs around Scandinavia, yet they had never collaborated in any formal projects until Heilung was formed.

Initially, Juul agreed to give Faust a bit of recording studio time to recite some of his poetry in exchange for free tattoo work, and after this informal agreement was struck, Juul and Faust then spent a several months in their spare time experimenting with different sounds in Juul’s recording studio. This collaborative musical effort between Juul and Faust involved traditional Nordic chanting that was mixed with electronic sounds. During these informal initial jam sessions, Juul specialized in laying down electronic beats and playing percussion instruments, and Faust wove wild shamanic vocal tapestries that built sonic castes upon Juul’s musical foundations. After spending a few months tinkering with their sonic spiritual creations, Maria Franz joined the musical merriment. Franz is also Juul’s long-time girlfriend and a former bandmate in the electronic music group called Euzen.

The above image shows the band Euzen. Image courtesy of laviola.de

 

The above video features a song by Euzen. 

Franz began participating in Viking reenactments in her home town in Norway at the age of 11, and her interest in pre-Christian Nordic culture blossomed into a study of singing classical Norwegian songs. Franz brings haunting and melodic vocals into Heilung’s musical mix and Faust has spent years studying and perfecting his Tibetan throat singing form, so Faust brings intense, deep, and growling vocals into Helilungs sonic mixes which creates a sonar landscape that is charged with vibrating waves of spiritual power. Faust took an interest in pre-Christian Germanic culture and music as a teenager, and he also spent his share of time listening to dark metal music such as Slayer and Sepultra, yet he never quite found the deep and spiritually transcendent sound he was seeking until he stumbled across the sounds of Tibetan throat singing.

In 2015 Heilug crafted their first studio album and called it Ofnir; however, the fabulous trio of Heilung did not genuinely perform live until they took the stage at the 2017’s Castelfest in the Netherlands where they played in front of more than 10,000 people. Heilung’s breakthrough live musical performance at 2017’s Castlefest was a resounding success which cemented the band’s place in the metal scene and quickly earned then a comparatively small yet very dedicated fan base.

It turns out that Heilung was destined for success from the start and there was never any need to build a following from scratch because both Juul and Franz were able to build Heilung on a foundation of work that was done earlier when they were performing as members of Euzen. Euzen was never the cultural and financial success that Heilung has become, but the time spent as part of Euzen sharpened Farnz and Juul’s musical chops and earned them credit on Europe’s musical scene. Since their seminal performance at 2017’s Castlefest, Heilung has released another studio album called Futha in 2019. Following the release of their last album, Heilung has been touring and performing, and their musical videos continue to receive high viewership on YouTube.

 

 

 My Introduction to Heilung

Over the last few years, I have gotten into the habit of watching the occasional video of Nordic music on YouTube, so that is the way I first discovered Heilung. My initial foray into Nordic music simply began by searching for “Nordic Music” or “Viking Music” on YouTube and then watching videos by Wadruna, but Heilung videos also surfaced after these searches. The first Heilung video I encountered was the concert footage of the band performing their most successful song called Krigsgaldr at 2017’s Castelfest.

 

The video posted above is the performance that put Heilung on the map. 

Heilung’s concert video of Krigsgaldr has garnered more than 30 million YouTube views, but their second most successful video is an animated sequence that accompanies the song Krigsgaldr. The animated Krigsgaldr video is based on ancient stone carvings from Scandinavia that have been brought to life with modern computer animation. The Krigsgaldr song and animated video tells a story about a coastal raid by a marauding fleet of pirate ships, and this raid takes place along the coast during the iron-age era in Scandinavia. In this short story, the fleet of pirate ships makes a stop by a small coastal village and proceeds to engage in iron-age sorts of recreational activities such as raping the local women and sadistically torturing the local men, (these fellows certainly knew how to arrange quite a cocktail party) so this video is filled with lots of wholesome family-friendly entertainment.

Anyway, one interesting part of this song is the English language dialog between the village chieftain and the raiding party’s top tortilla, needless to say, some colorful banter ensues in this cordial pow-wow. The dialog between the village chieftain and the party boat captain is interesting because the words in this iron-age Zoom meeting were sourced from ancient runic inscriptions found on rocks and wood carvings. In the end, the pirates have their fun and then sail off into the sunset, yet the village shaman insists on sending his guests home with a party favor. After the pirates leave the area, the village shaman takes a huge dose of mushrooms and casts a mighty spell on the departed fleet of longboats, and in turn, this fungus-fueled spell conjures up a pretty lively storm out there on their guests’ whale-watching voyage. The shaman’s spell and the storm it conjures destroys much of the pirate fleet, and the skipper of the boating parade soon finds himself washed up on the shoreline not too far from his previous night on the town, and after his arrival back at the beach resort, old Captain Ron meets up with his friends from the village who greet him with quite a warm welcome. Anyway, the subject matter of the Krigsgaldr animation video is downright bright and cheery, and the animation is worth watching for its own sake.

 The video posted above is the animated Krigsgaldr  short film.

 

Heilung Lives Matters

Indeed, why is some random concert that happened in the Denver area worth mentioning on the Thule Society’s website? Well, Heilung is worth mentioning for Thule Society members because this band offers a piece of culture in the form of music that provides an alternative to mainstream Jewish-controlled musical fares. It is important to remember that politics is downstream of culture, so at this time building European cultural capital that is untainted by Jewishness is crucial, even if the members of Heilung themselves are not all that we would want them to be.

Yet another notably good thing to be said for Hitler’s Germany was the fact that National Socialist Germans built their own cultural institutions that were independent of Jewish interests, which is a great thing to do. In the 1930s, National Socialist Germany produced more films than any other nation at that time, so they did do a good job of establishing their own cultural base that was independent of Jewish manipulation and malevolence. For European people who are living today, building their own cultural institutions assumes vital importance because politics is ultimately determined by cultural trends; thus, if Jews wish to exert control over a population by brainwashing the masses into mindlessly carrying out self-destructive agendas that only suit Jewry, then Jewry must control the cultural narrative as well as all the rest of a host society’s key societal institutions. The tragedy of communist Russia serves as a prominent example of what comes to pass when Jews assume total control of all cultural and governmental institutions; therefore, building solid cultural institutions that act as bulwarks against Jewish mind control is essential, and Heilung contributes to the objective of building independent European cultural outlets.

It is also important to remember that before computer technology decentralized the way people acquire new music, it was Jews who owned all of the major record labels, and it was also Jews who determined which music would be playing on MTV back in the 1980s and 1990s. Additionally, it was Jews who determined which music would be pumped out on the FM airwaves across America from the 1960s until the present day, although FM radio is no longer the key media technology that is was in decades past.

It was also Jews who promoted Black rap music that glorifies Negroes and pushes bad values onto Black communities — and everyone else for that matter. Let us also not forget that is was our small-hatted adversaries who fiercely promoted the ethos of casual sex, hyper-individualism, and drug use that is championed by Rock ‘n Roll music. Yes, many prominent rock stars are White, yet this musical genre has been controlled by Jews for a long time and the general moral and ethical code championed by Rock music is not so good.

So, how is Rock music not promoting good morals? Well, for example, Rock stars are pretty regularly dropping dead from drug overdoses, and Rock stars have been known to do such tasteful things as urinate on the floors in the first class sections jet liners whenever they have been forced to wait in line to use the bathroom. Rock stars are also notorious for urinating in elevators and even in the dining rooms of fine restaurants. Led Zeppelin’s guitarist Jimmy Page also kidnapped a teenage groupy and held her hostage at his mansion in the English countryside for around two years back in the 1970s, so yes, Rock musicians deserve to have a bit of a bad reputation. On the lighter side, whatever louche morals rock music may promote, the moral turpitude encased in rock songs that is exemplified by the low behavior of rock stars pales by comparison to the crummy ideas pushed by Black rappers with Jewish backing. As for Black rap music, this genre promotes materialism of the worst kind by constantly mentioning product brand names in the songs, plus rap music also encouraging crime and violence of all types. Rap also does not promote the ideas of working hard, saving money, going to school, or getting married, nor does rap music advocate for exercising any self-control about sex.

So, should a conscious and aware National Socialist proceed to toss his collection of old rock records or swear-off listening to Bob Dylan songs because old Bob is Jewish? Should an awake National Socialist shun all rap music, even rap music which is performed by German National Socialist such as Komplott, or American National Socialist rappers such as Mr. Bond? Should the awake National Socialist toss out all modern music and just stick to a musical diet of Wagner and classic German Polka songs? Well no, that would be way too extreme; however, it is worth noting that National Socialists do need to start their own cultural institutions, so building their own selection of music to choose from that is not made or distributed by Jews is a great start, and Heilung belongs on the list of music that should appear in a good National Socialist’s collection.

The video posted above features a song by Komplott. 

The actual music of Heilung is worth noting from a National Socialist perspective because it pays no head to modern sensibilities in general, and although there might be electronic influences embedded within Heilung’s compositions, Heilung’s tunes still seem to pay no homage to garbage Rock and Roll values nor low Negro influences, and in this day and age this disregard for Jewish cultural trends is something of value. Heilung describes their music as being “History Amplified” which means that they are not necessarily sticklers for every detail of historical accuracy, but the members of Heilung are focused on finding a way to adapt certain ancient spiritual ideas into a modern context. Heilung’s music incorporates lyrics sung in ancient proto-Norse languages and the inspirations for many of their song lyrics can be traced to ancient Runic inscriptions found on rocks as well as runic inscriptions found on archeological artifacts from Scandinavia and Germany.

Heilung’s musical style is akin to the Nordic shamanism that predates the Christian era and the Viking era as well, so the idea behind Heiling’s music and stage performances is to tap into the primal and dharmic roots of the untamed European soul. At this time, international Jewry is trying to destroy and then rewrite all of European history, and they are seeking to destroy European people’s sense of identity in the process. Jewry is presently trying to erase all European cultural items because they know that if they can erase any sense of culture that European people might have, then they will soon be able to eliminate European people themselves. Not surprisingly, the Jews are actively seeking to destroy the Mosques, old copies of the Koran, and other cultural trappings of the Palestinians because they know that if they can erase the culture and history of the Palestinians, then they will be able to eliminate them as a people much faster — a tree without deep roots will inevitably fall over and die. Thus, in light of Europe’s present Jewish-driven campaign of genocide, it is vitally important for European people, and anyone else who is also a target of Jewish genocide agendas, to cling to a sense of cultural and biological identity with fierce tenacity.

Many people would wonder why it would matter at all if European people had their genetics washed out and their culture eliminated, and these same people think this way because their line of reasoning runs something like this: Change is inevitable, so we should just accept what changes come, and it is also best to simply accept that cultures mingle, genetics mix, and people are all just people after all — I mean really, so get with the current year! Sadly, accepting European cultural erasure as part of “multi-cultural” changes or “progress” is nothing but a death sentence for all European people, so it is imperative to find a uniquely European identity and then hold on to this identity tightly, and fortunately Heilung is part of the process for European people to find their own sense of identity and rootedness. One nice thing to be said for Heilung is the fact that this band does not produce a type of music which is “inclusive” or “multi-cultural,” but instead, Heilung offers music that reaches out to European people specifically and offers them a sense of having roots and a sense of having a true connection to an ancestral past.

The problem with this “accept the changes” line of thinking is that the process of death for European people at the hands of Jewry is not going to be painless or pleasant; indeed, the process of European genocide will involve tremendous persecutions against people of European descent which will include such niceties as job discrimination, endless violence being perpetuated against European people, and a constant diet of ritualized humiliations. If European people do not wake up soon and start resisting their own downfall, then they can expect to suffer a tidal wave of barbaric torture, enforced poverty, and a tsunami of sexual violence and predation being inflicted on their women and children. Present day South Africa presents a good look at what the future will hold for European people if they lose their sense of identity and culture and succumb to the Jewish genocidal agenda which is presently arrayed against them. With this awful reality in mind, it is important that European people find a sense of roots and identity, because if European people do not band together and start resisting diabolical Jewish agendas then true suffering awaits.

 

Impressions of the Concert

For starters, the venue itself for Heilung’s October 5, 2021 concert was quite a thing. The Red Rocks Amphitheater in Morrison, Colorado is one of the most spectacular musical venues anywhere. The Red Rocks Amphitheater is built into a hillside that overlooks the metropolitan sprawl of Denver, so during the concert is was possible to see the stage as well as the downtown skyscrapers and the lights of Denver that faded miles into the distance. The amphitheater itself holds about 10,000 people and is surrounded by giant red rock formations that jut hundreds of feet out of the ground, and the surrounding area is also besprent with these same ancient spires. It is a bit of a hike to climb all of the stairs that lead up to the seating area, but the climb is worth it once your seat has been claimed.

The image above shows the Red Rocks Amphitheater during a night concert. Image courtesy of liveformusic.com

The above image of the Red Rocks Amphitheater during daylight is furnished by cmhof.com

The concert began at 8 PM, and by this time most of the crowd had already tricked in. Heilung’s show only lasted around 2 hours, but it was worth the trip from the San Diego area to attend their show. It turns out that Heilung’s concerts are not really concerts in the traditional sense; but instead, when Heilung performs a show they are really performing a shamanistic ritual. The show began with a group of Native Americans who took the stage in their ceremonial costumes, did a bit of shamanistic dancing, performed a ritual blessing, then proceeded to welcome the members of Heilung onto the stage. The contingent of Native Americans was incorporated into the show in order to help bless the stage and to clear their performance with the local land spirts.

I personally have mixed feelings about the idea of incorporating Native Americans into Heilung’s ritual on the grounds that I did not journey to Denver to see Native Americans perform, and this night was not supposed to be a celebration of Native American traditions, but instead, this night was meant to be a celebration of my own deep ancestral traditions. I feel that at this time every other group of people have their traditions loudly venerated, but my ethnic group is supposed to just wallow in shame and self-loathing while others go out and loudly shout about the greatness of their ethnicity. I also have some misgivings about European people asking permission from Native Americans, or any other group of non-Whites, do what they want to do; to put it another way, I am tired of feeling like European people need to beg for anyone else’s approval to do anything. I feel like Europeans are expected to apologize to others just for existing, and I am now truly sick and tired of having to endure this dog-shit arrangement. I have also heard it said that once you start apologizing, then you will never stop, and there is definitely some truth in this statement.

After the opening ceremony with the Native Americans was completed, the members of Heilung took the stage and began to make their music and to do their dances. Heilung’s core members are of course, Kai Uwe Faust, Maria Franz, and Christopher Juul, but there were also two male percussionists in the background, three female backup singers who were clad in traditional Nordic linen folk dresses that were also sporting painted faces. Heilung’s performing retinue also included around 12 extras donned the stage without shirts who were also covered in makeup. The makeup-covered extras took the stage with spears and shields in hand, and this retinue of shield-carrying extras also included two topless women who had a layer of body paint covering their liberated, loose, and animated mammaries.

The songs themselves were sung in old proto-Norse lyrics, so I could not understand what was actually being said in the songs, but the emotional effect of the music was still quite powerful. Kai Faust was dressed in a shamanic costume replete with deer antlers and leathers, and Maria Franz wore her signature long and flowing white dress that is always accompanied by a headdress which sprouts deer antlers from the top. Both Faust and Franz also wore fringed leather headbands that partially obscured their faces; on the other hand, Christopher Juul remained on the right side of the stage where he played percussion instruments and sang backup vocals. Juul has a head full of dreadlocks and he wore a simple old Nordic-styled linen tunic at this event, so Juul’s visual presence was less notable than that of Franz or Faust. Juul did not wear any headdress, but he did daub his face with a bit of black makeup for effect.

Aside from the pageantry, the songs themselves varied between Franz’s haunting and melodic vocals and Faust’s growling throat singing. The two male percussionists remained parked at the back of the stage where they kept rhythm on huge sets of drums that were strung with horse leather which had also been painted with the band members’ own blood. Some of the songs were comparatively contemplative, quiet, and ethereal, plus these relatively smooth songs highlighted the women singing in chorus; whereas, others tunes were marked by intense drumming from most of the band members and these same lively songs were punctuated by intense throat singing from Faust. The later songs featured the entire ensemble of shirtless extras who would bang their spears on the ground in rhythm and wildly gyrate around the stage waving their shields and spears every which way.

 

The sound system did go out for about 10 minutes towards the later part of the show, but the band just continued with their ritual despite the lack of sound because they felt that the ritual needed to be completed with or without the sound system working. Luckily, the sound system got fixed after a while and the concert progressed as normal. The closing song involved a wild and ecstatic dance that included the troupe of Native Americans performers, and the final act before the lights went out was a ritual circle blessing from Faust and the crew of Native Americans.

As for the crowd, Heilung did have a sold-out show that night, so there is obviously a decent number of people who like their music, although it seems very unlikely that Heilung will ever gain too much in the way of true mainstream appeal. The crowd that gathered that night was mostly made up of Denver area locals, but many of the show-goers did travel from other states to lend their support. The crowd was statically all White with a few exceptions, as you would expect, and most of the patrons were quite young, which is a good thing. It was good to see a young crowd there at that concert because the youth are the future, and it is good to see a new generation growing up with a sense of Nordic rootedness. There was a collection of people who were dressed in traditional Nordic linen clothing from the Viking era, so I am guessing that the Pagan revival community was well represented that night. A fair share of black-clad Goths were also present that night, and some older people who were just professionals of some type showed up there as well.

It seemed to me that most of the people who showed up that night were not National Socialists, nor were they White Nationalists, but it did seem like a good number of the people present were just there for a night of what they believed to be nothing more than harmless cos-play larping and fun. My impression of the neo-pagan types was that they are probably not really aware of the danger their people are in, but at least attending a show by Heilung represents a step in the right direction because attending events such as these helps raise ethnic awareness for European people

What does concern me is the fact that so many of the people who attended that show were probably just seeing their interest in Heiling as a harmless hobby interest; however, international Jewry does not see things that way, and it seems unlikely that many of these same people are aware of the current campaign to rid the world of European people. Soon the privilege to have any European identity at all will be revoked by Jews, Blacks, plus the hordes of resentful non-Whites, and it seems likely that Heilung will find themselves banned from many venues in the future if they start to attract too much of a following.

What many of the concert’s oblivious attendees do not yet know is that if they wish to practice Paganism, then they will either have to allow Jews to control their religious organizations or else they will face jail time. International Jewry truly hates the idea of anyone else having an ethnicity-based religion because they know that having strong in-group solidarity lends their people strength, so they do not want any other groups to have the same in-group solidarity that comes with practicing a religion with an ethnic angle. Jews do not want anyone else — especially European people — practicing an ethnic religion, so they are already in the process of funding fake and liberal Pagan groups that will welcome Blacks and Jews; also, any Pagan groups that continue to insist that traditional Nordic religions are not meant for non-Europeans will undoubtedly face legal consequences from Jews at some point.

While at the concert, I did see a group of young men who had long hair, faces painted in feminine makeup, and who were also clad in women’s dresses. These same drag-dressing young men that I saw at the concert were also carrying signs that showed Norse runes, the Thor’s hammer symbol, and these same signs also had gay pride rainbow colors painted on them. Yes, there are “pagan” and “Asatru” organizations out there that are funded by your local synagogue. I also saw a group of young men that all looked to be in their 20s who were all wearing black leather vests that were adorned with green Thor’s hammer logos and green runes, except one of the group’s members was a negro — I wonder who is funding this “pagan” group.

I personally believe that any Asatru organization which is worth its salt would never accept anyone into their ranks who is not European, and I think this way because I believe that Asatru is essentially a European folk religion and there can be no separation between practicing this religion and holding European ancestry. To put it another way, if Asatru assemblies start accepting Jews, Blacks, and other non-Whites into their midst, then the whole Asatru religion essentially becomes a toothless joke; that being said, the Jews are seeking to make paganism and Asatru into a toothless joke.

Conclusions

Heilung clearly deserves a thumbs up for the work they do, even if the band members themselves are a collection of leftists. Even if the band members of Heilung are leftists, they should be aware that promoting any sort of music or cultural activities that focus on pre-Christian Scandinavian roots is a political stink bomb in this day and age. Fact is, Jews get really nervous whenever true European people start delving into their pre-Christian roots, especially those Germanic types of White folks, so it would be very stupid for the members of Heilung to simply assume that what they are doing is going to be interpreted as just a bunch of harmless fun by powerful international Jewish interests.

Whether they choose to be political activists or not, the members of Heilung are rattling some gourds and making certain groups of people very nervous, and this is the case because as far as Jews see things, any time White people delve into any explorations of their pre-Christian roots then these activities are really nothing more than thinly vailed “Nazi-ism.” As a counter reaction to Whites exploring their pre-Christina roots, Jews will use all of their considerable money and behind-the-scenes political pull do shut down any European expressions of pre-Christian cultural and ethnic identity, such as that which is exemplified by the band Heilung.

As far as Jews are concerned, any whiff of White pride or White group solidarity might as well be a Ku Klux Klan gathering. Image courtesy of cbsnews.com

As far as Jews and Blacks are concerned, any expression of European cultural identity is akin to Hitler stopping by  for an afternoon tea. Image courtesy of bbc.co.uk

It is also not just Jews who get really uneasy when European people begin to show any signs of groups solidarity or when European people start showing any affection for their pre-Christian identity; fact is, despite their loud bluster, Blacks are really downright terrified of the prospect that Whites will start to organize and act in their own group interest. Blacks are terrified by the idea of Whites organizing for their group interests because they are aware that as things stand presently, they are gaining a lot of unearned social status that is being handed to them through the media and through institutional favoritism, and this princely status that Blacks presently enjoy comes courtesy of Jewish institutional pull, so anything that might upset this situation will be met with snarling Black hostility.

If Whites should ever start to get off of their collective knees, then this artificially high social status, pervasive institutional favoritism, along with all of the generous governmental handouts that Blacks presently enjoy will vanish, so it comes as no surprise that Black want to stamp out any inklings of White pride and preempt any talk of White solidarity. Remember, the governmental handouts that Blacks currently receive come on the backs of the White middle-class taxpayers, so if White people truly start to act in their own best interests, then all of these nice governmental subsidies that Blacks enjoy will not last. This desire to keep Whites in a state of broken subservience on the part of Blacks means that European cultural items like Heilung will fall onto a Black hit list sooner or later.

As things stand, a sense of White guilt and White demoralization that has been perpetuated by Jewish propaganda makes European people easy prey for Black crimes of all types, plus White demoralization makes White women easy prey for sexual assaults by Black men, so naturally, Blacks do not want to see White people start to break their Jewish-created chains of demoralization and guilt. A broken White population furnishes Blacks with a nice playground for romping and gives Blacks a collective gravy train to ride, so the appearance of cultural forces such as Heilung spells trouble as far as Blacks are concerned.

So long as Heilugn remains a somewhat small cultural force, then they will be allowed to perform at established concert venues, but if their following should grow too much larger, then they will likely face such niceties as being denied venues for performances, having their bank accounts nixed, being denied credit cards, and there is a decent chance that the members of Heilung will also have their passports taken away and their website shut down if they grow too popular.  I like what Heilung does, and I wish them luck in the future, but I am concerned that the will soon fall onto the hit list of a Jewish and high-melanin coalition of hate.

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