Ofnir 2015
LYRICS
Draupnir
Geri Freki
Sleipnir
Gugnir
Haegolae Haegolae Haegolae Wiju Bi Gojze
Gaegogae Gaegogae Gaegogae Ginu Gahelija
Haugen Maunen
Ok Alfadhir heitir
Fimbul thulur Fjoelnir
Udhur Ulfroegni
Thekkur Thudur
Onski Ofnir
Rognir
Raudhir
Grimnir Goendlir (Kaunan)
Hlefreyr Hangatyr
Njolstapi Naudhvindir
Jolfudhr Jafnhaur (Is)
Atridhir Alfadhir
Sidgrani Sigfadhir
Dughirgjafi Dresvarpir
Bileygur Biflidhi
Margvisir Midhvitnis
Londungr Launhirdir
Yggr ok Yungir
Min Warb Naseu
Wilr Made Thaim
I Bormotha Hauni
Hu War
Hu War Opkam Har a Hit Lot
Got Nafiskr Orf
Auim Suimade
Foki Afa Galande
What am I supposed to do
If I want to talk about peace and understanding
But you only understand the language of the sword
What if I want to make you understand that the path you chose leads to downfall
But you only understand the language of the sword
What if I want to tell you to leave me and my beloved ones in peace
But you only understand the language of the sword
I let the blade do the talking…
So my tongue shall become iron
And my words the mighty roar of war
Revealing my divine anger´s arrow shall strike
All action for the good of all
I see my reflection in your eyes
But my new age has just begun
The sword is soft
In the fire of the furnace
It hungers to be hit
And wants to have a hundred sisters
In the coldest state of their existence
They may dance the maddest
In the morass of the red rain
Beloved brother enemy
I sing my sword song for you
The lullaby of obliteration
So I can wake up with a smile
And bliss in my heart
And bliss in my heart
And bliss in my heart
Coexistence, Conflict, combat
Devastation, regeneration, transformation
That is the best I can do for you
I see a grey gloom on the horizon
That promises a powerful sun to rise
To melt away all moons
It will make the old fires of purification
Look like dying embers
Look like dying embers
Look like dying embers
Min Warb Naseu
Wilr Made Thaim
I Bormotha Hauni
Hu War
Hu War Opkam Har a Hit Lot
Got Nafiskr Orf
Auim Suimade
Foki Afa Galande
Hu War
Hu War Opkam Har a Hit Lot
Ylir Men Aero Their
Era Mela Os
Y! Ylir men
Ae! Aero Their
Era Mela os
Min Warb Naseu
Wilr Made Thaim
I Bormotha Hauni
Got Nafiskr Orf
Auim Suimade
Foki Afa Galande
Hu! War!
Hu war Opkam Har a Hit Lot
Bedrohlich, der germanische Wald
Schon seit Urzeit finster und kalt
Voller Tropfen, Geheimnisse und Lichter
Verflochten, verwoben in tote Gesichter
Es rinnt der Schweiss, es rinnt der Regen
Alle Legionäre müssen alles geben
Hosenlos, auf römisch`Art
Verschmutzt, erschöpft, doch ohne Bart
Bis zu den Knien im Schlamm sie waten
Sich immer enger und enger scharen
Tiefe Furcht sich in ihre Kehlen schnürt
Ob dem, was ein jeder hier spürt
Er scheint zu leben, der beklemmende Wald
Durch den ob Nebel und Regen nun nichts mehr schallt
Da schlägt ein Ast, da glotzt ein Pilz
Im Moor, es greift nach dir und deine Seele will´s!
So sind die Soldaten durchfroren und ohne Kraft
Alles durchnässt, dreie das Moor weg gerafft
Doch: “Semper fidelis!” Immer treu, folgen sie Varus, ihrem Führer
Den seinerseits Armin, der Cherusker führt
Plötzlich des Waldes nagendes Angstgefühl
Wandelt sich in Menschengewühl
Als der Cherusker einen Pfiff ertönen lässt
Und die Legionen stachen in ein Wespennest
Aus dem Schlamm, den Blättern auf Boden und Bäumen
Plötzlich unendlich Germanen schäumen
Ein Schrei wie von tausend Bären ertönt
Der der zu Tode erschöpften Römer Ängste nur nährt
Und schon, vom Schwerte ergraben der Blutstrom fliesst
Sich in tosendem Lärmen zu Boden ergiesst
Russgeschwärzt Germani alle
Bringen, getarnt hervorgestürmt den Tross zu Falle
Pfeile und Speere von Bäumen und Hügeln regnen
Als die Reihen der Römer behende sich ebnen
Doch auch schwarze Gesichter gehen nach Walhall
Und Blut und Schmerz ist allüberall
Es regnet Köpfe und Arme und Hände
Blutrot ist des Waldes Moor am Ende
Und zerrissenene Münder und Augen
Im Tode verzerrt aus der Erde nun schauen
Bis zur dritten Nacht zieht sich das Grauen
Im Lichte der Fackeln sieht man die Frauen
Wie sie berauben die Römer, finden den Mann
Weinend den Liebsten erkannt, der nicht entrann
Kaum zieht der Morgennebel seine Bahn
So sind schon Wolf und Aar heran
Letzen sich am unendlich geflossenen Strom
Totes Fleisch nun ihre Gier belohnt
Durch die Haufen zerfetzter Leiber
Wühlen schmatzend sich Reiter
Auf Bahren tote Cherusker ziehend
Waffenvertrieben die Gierigen fliehen
So werden die Gefallenen aufgeschichtet
Und durch Flammen nass schwelenden Holzes vernichtet
Nur die Römer bleiben, genagelt an Bäume im Blutmoor zurück
Auf Altären geopfert, Stück für Stück
Ihre Schädel und Waffen Wotan dargebracht
Im heiligen Haine, im Schutze der Nacht
Noch lange rauchen die Seelenfeuer
Durch die sich die Seele erneuert
Und weit in Walhalla droben
Noch lang´die Cherusker sich lobten
Wie brav sie die Römer erzogen!
Carpathian forest
Where the trees are endless
Forest titans fall to rest
A bed is made for the queen
Mushrooms gather in circles
Where bears walk
Dereliction houses dark spirits
A comet falls deep into darkness
Stones rise in circles
Where drums roar
Water whispers vibrating
People dance under the moon
In circles
Bone to Rune
Skull to Dust
Ice melts the thoughts of the gods
Root promises blossom
Grab bleibt Ekel jedem Edeling
Wenn faulendes Fleisch sich gaert
Grund klagt grausam kuehlend
Fahren die Gaben hin verfaulen Garben
Freude bricht fort Vertraege brechen
Ear byth egle eorla gehwylcun
dhonne faestlice flaesc onginneth
hraw colian hrusan ceosan blac to gebeddan bleda gedreosath
wynna gewitath wera geswicath
Feoh byth frofur fira gehwylcum
sceal dheah manna gehwylc miclun hyt daelan
gif he wile for drihtne domes hleotan
Ur byth anmod ond oferhyrned
felafrecne deor feohteþ mid hornum
maere morstapa thaet is modig wuht
Dhorn byth dhearle scearp dhegna gehwylcum
anfeng ys yfyl ungemetum rethe
manna gehwelcum dhe him mid restedhdh
Os byth ordfruma aelere spraece
wisdomes wrathu ond witena frofur
and eorla gehwam eadnys ond tohiht
Rad byth on recyde rinca gehwylcum
sefte ond swithhwaet dhamdhdhe sitteth on ufan
meare maegenheardum ofer milpathas
Cen byth cwicera gehwam, cuth on fyre
blac ond beorhtlic, byrneth oftust
dhaer hi aedhelingas inne restath
Gyfu gumena byth gleng and herenys
wrathu and wyrthscype and wraecna gehwam
ar and aetwist dhe byth othra leas
Wenne bruceth dhe can weana lyt
sares and sorge and him sylfa haefth
blaed and blysse and eac byrga geniht
Haegl byth hwitust corna hwyrft hit of heofones lyfte
wealcath hit windes scura weortheth hit to waetere sydhdhan
Nyd byth nearu on breostan weortheth hi theah oft nitha bearnum
to helpe and to haele gehwaethre gif hi his hlystath aeror
Is byth ofereald ungemetum slidor
glisnath glaeshluttur gimmum gelicust
flor forste geworuht faeger ansyne
Ger byth gumena hiht dhonne God laeteth
halig heofones cyning, hrusan syllan
beorhte bleda beornum ond dhearfum
Eoh byth utan unsmethe treow
heard hrusan faest hyrde fyres
wyrtrumun underwrethyd wyn on ethle
Peordh byth symble plega and hlehter
wlancum on middum dhar wigan sittath
on beorsele blithe aetsomne
Eolh-secg eard haefth oftust on fenne
wexedh on wature wundath grimme
blode brenedh beorna gehwylcne
dhe him aenigne onfeng gedeth
Sigel semannum symble bith on hihte
dhonne hi hine feriath ofer fisces beth
oth hi brimhengest bringeth to lande
Tir bith tacna sum healdedh trywa wel
with aethelingas a bith on faerylde
ofer nihta genipu, naefre swiceth
Beorc byth bleda leas bereth efne swa dheah
tanas butan tudder bith on telgum wlitig
heah on helme hrysted faegere
geloden leafum lyfte getenge
Eh byth for eorlum aethelinga wyn
hors hofum wlanc dhær him hæleth ymbe
welege on wicgum wrixlath spraece
and bith unstyllum aefre frofur
Man byth on myrgthe his magan leof:
sceal theah anra gehwylc odhrum swican
fordhum drihten wyle dome sine
thaet earme flaesc eorþan betaecan
Lagu byth leodum langsum gethuht
gif hi sculun nethan on nacan tealtum
and hi saeyþa swythe bregath
and se brimhengest bridles ne gymedh
Ing waes aerest mid East-Denum
gesewen secgun o he sidhdhan est
ofer waeg gewat waen aefter ran
dhus Heardingas dhone haele nemdun
Ethel byth oferleof aeghwylcum men
gif he mot dhaer rihtes and gerysena on
brucan on bolde bleadum oftast
Daeg byth drihtnes sond, deore mannum,
maere metodes leoht, myrgth and tohiht
eadgum and earmum eallum brice
Ac byth on eorthan elda bearnum
flaesces fodor fereth gelome
ofer ganotes baeth garsecg fandath
hwaether ac haebbe aeþele treowe
Aesc bith oferheah eldum dyre
stith on stathule stede rihte hylt,
dheah him feohtan on firas monige
Yr byth aethelinga and eorla gehwaes
wyn and wyrthmynd, byth on wicge faeger
faestlic on faerelde fyrdgeatewa sum
Iar byth eafix and dheah a bruceth
fodres on foldan, hafath faegerne eard
wætre beworpen dhaer he wynnum leofath
Ear byth egle eorla gehwylcun
dhonne faestlice flaesc onginneth
hraw colian hrusan ceosan
blac to gebeddan bleda gedreosath
wynna gewitath wera geswicath
Harigasti Teiwa
Ek Erilaz Owlthuthewaz Niwaremariz Saawilagar Hateka Harja
Ha Hu Hi He Ho He Hi Ha Hu
Fehu Uruz Thurisaz Ansuz Raidho Kenaz
Gebo Wunjo Hagal Naudhiz Isa Jera
Eihwaz Perthro Algiz Sowelu Tiwaz Berkano
Ehwaz Mannaz Laguz Ingwaz Dagaz Othala
Wuotani Ruoperath
Gleiaugiz Eiurzi
Au Is Urki
Uiniz Ik
Da ist keine Welt über dir
Ist keine Welt vor dir
Ist keine Welt hinter dir
Keine Welt neben dir
In der der Hammer den Krug nicht zerschlaegt
In der Eis das fauchende Feuer füttert
In der nicht selbst der kleinste Strauch danach trachtet
Seinen Nachbarn
Zu ueberwachsen, zu ueberwuchern, zu ueberwinden
Wenn die Stunde Schmerz geschlagen hat
Heisst es du oder ich
Leben ist atmen, kaempfen und leiden
Tapfer jeden Tag
Erst der gefürchtete Letzte leiht Frieden
Keine Welt
Die nicht vom Willen zum Wachsen, zum Leben, zur Macht beherrscht wird
Denn auch du
Traegst diesen Kern in dir
Selbst wenn deine Sonne Demut heisst
Und dein Feind daselbst doch du nur bist
Diesen Kern
Aus Todesangst und Lebenswillen
Der dann doch nur Liebe ist
Und in sich selbst zerschmilzt
Dein Wille waltet die Welt
Als ganzes Gesetz
Deiner Truebsal Talestiefe
Misst deiner hellen Freude Bergfeste Höhe einst
Wasser wallt weihend
Rinnt reinigend herein und heraus
Waescht hinfort Wundgeister
Graemt Wahngeister
Der weise Wanderer
Bricht nur Zelte ab im Weiterziehen
Bricht keine Bruecken
Denn man weiss nicht wann man ihrer wieder bedarf
Der Neidkoenigin Narben
Gestuerzter Drudenfuss geschnitzt so tief
Kains Zeichen ziert die Kalte
Schossverwundet schon so lange
Bis zum Blute stach ich den Baeren einst
Mit dem staerksten aller Staebe
Mondengleich leuchtet´s aus dem Munde mir
Mottenmaul mein Name ist Gier
Gibuleubauja
EXPLAINED
Alfadhirhaiti is about Odin, the god of war and poetry.
It starts with describing his features, who also points to his function as the first shaman.
Draupnir is the name of his ring, that produces nine rings every ninth night, so rings roll on a frame drum and produce a snaring sound. More rings fall on a pile of rings rhythmically.
Geri and Freki are the names of the wolves that are always with Odin, so you hear them howling and gnarling, hungry for the flesh of the fallen.
Sleipnir is the name of the eight-legged horse, that provides the distinctive rhythm.
At last it is Hugin and Munin, the two ravens, mind and memory, that count in for the warrior chorus.
The lyrics of the chant come from a spear shaft, found in Kragehul, Denmark.
The meaning of some of the rune inscriptions is discussed controversially in science, so we will not get into it too much, but the Kragehul inscription seems to be a battle cry and a spear blessing. At least that is what we read out of the different attempts of translation.
Finally, the song reaches the point where 32 names (Kenningar) of Odin are recited, following the order of the younger rune alphabet.
Most of the names are known from original sources, but some of them are by Heilung, in order to have 16 stave rhymes.
Krigsgaldr is a piece that contains an old and a modern language.
The ancient Norse part comes from the Eggja rune stone, Norway.
The stone is dated to the 7th until 8th century, so it is slightly pre Viking age.
It is just a part of the inscription we sing, but it gives the listener the chance to experience a song in late iron age meter.
Whatever the words may exactly mean is again topic of a big scientific discussion.
It is not our intention to meddle in that discussion, our attempt is to make the listener feel the fascination of the spells.
We want to give the runes a voice again, give them vibe again.
It is one thing to read about the runes, see a documentary about them.
But when your fingers run along the ancient lines, when you stand in a stone circle it is a different thing.
With this piece, we try to transport that shiver you feel on the ancient sites, that creepy feeling to sit on a grave mound in twilight and listen to what the wind has to say…
In Krigsgaldr you can hear the sound of death for the first time, the clicking rhythm is made with human bones.
The modern part could be the words of a Volva or Shaman in trance, possessed by an angry spirit.
English was the language of choice as the most common Germanic spoken language today.
In Hakkerskaldyr we continue to play with the Eggja inscription.
Hakkerskaldyr is the continuation of Krigsgaldr, the growing power of sounds and the fading away of it with the last whistling and humming.
There are many theories about, how the music of the Viking period and the earlier ages actually sounded.
Some say, it is close to the old songs we still find for example in Karelia and other rural Scandinavian areas, others point to the roman description of the so called “Furor Teutonicus”. A fear triggering type of chanting, that was used in battle and made the ground shake.
We still find soundscapes like that today in the Polynesian and other unbroken tribal traditions.
We aim to give that impression with Hakkerskaldyr.
Here you hear the war horns, called Lure or Carnyx. The rhythm is made by shields and swords and the voices of warriors, more shouting in rage than singing.
Price for example stresses the connection of spirituality and warfare among the Germanic tribes, so in Hakkerskaldyr you hear the priests singing that doom promising vibe in the background.
Describes the battle of the Teutoburg forest in 9 AD. It starts out with verbally painting the picture of the old and dense, wet forest, followed by the fear of the roman legionaries and the cruelty of the fights. The legions end up in anambush that the Germanic tribes prepared for them.Human sacrifices in the aftermath of the battle are described. It ends with the burial rites of the tribes, pyres burning on a misty morning, filling the valleys with heavy, sweet smoke. The last desperate cries are the words of the roman emperor, when he gets to know the tremendous loss.
Carpathian forest is the essence of a workshop about shamanism situated in the Romanian Carpathians.
Due to the nature of shamanistic teaching, Heilung is not supposed to transfer non encrypted information, but the song invites you in a dream made from mystic, wet autumn forest, that smells like mushrooms…
Schlammschlacht
Describes the battle of the Teutoburg forest in 9 AD. It starts out with verbally painting the picture of the old and dense, wet forest, followed by the fear of the roman legionaries and the cruelty of the fights. The legions end up in an ambush that the Germanic tribes prepared for them.
Human sacrifices in the aftermath of the battle are described.
It ends with the burial rites of the tribes, pyres burning on a misty morning, filling the valleys with heavy, sweet smoke.
The last desperate cries are the words of the roman emperor, when he gets to know the tremendous loss.
Right before the recordings of the vocals for Fylgja, a fellow, dear musician passed away from this existence. Despite our plans, we decided to continue the recordings and create the piece around the death rune, feeding the sorrow to the sound.
The clicking rhythm you hear in this piece, is created by human forearm bones.
Originally, the song was supposed to be about the guardian spirits, that help one in and out of this life and protect in the meantime. They are most active in extreme situations and crisis, so we decided to keep the original title.
Futhorck is the recitation of the old English rune alphabet. All lyrics are originals from the 8-9 century.
We chose a strong Germanic pronunciation to show the connection in the Germanic languages.
People from Holland, England, Germany and Scandinavia will be able to connect some of the words to their modern languages.
This poem was recited in a trance-like state during the recording and the listener can easily follow the different mood each rune carries.
In Maidian starts with vocalizing the oldest rune inscription we know, followed by the recitation of the rune names from the elder Futhark.
You can hear the pain of an overpowering trance that inspires tension, only to feel double relief as the intensity eases.
The underlining of the song was recorded on a windy day under the birch trees.
The frame drums used on all recordings were made by Kai in a way unchanged since the stone age, with goat, horse and deer skin.
The paste slows down continuously during the song, very slowly, nearly not recognizable.
The final words are partly from an old runemaster, that called himself “the one with glancy eyes”.
Mushrooms played an important role in pre Christian spirituality. Many of the sounds you hear in Afhomon come out of the worlds the mushrooms lead you to.
The song is underlined with the sound of grinding stones, an old shamanic technique where one sits out in nature and grind meditatively for hours. Also here it is expressed in sounds when the shadows creeps out of the dark into your conscience. But also the blissful moment of being able to breathe under water.
In the outro the heartbeat of being in deep meditation prevails and the mantra is a blessing for luck and love.
Futha 2019
LYRICS
Bræðr munu berjask
ok at bönum verðask,
munu systrungar
sifjum spilla;
hart er í heimi,
hórdómr mikill,
skeggöld, skalmöld,
vindöld, vargöld,
áðr veröld steypisk;
mun engi maðr
öðrum þyrma.
svört verða sólskin
um sumur eftir,
skeggöld, skalmöld,
vindöld, vargöld,
Galanda vidr
Gangla vidr
Rithanda Vidr
Vidr rinnanda
Vidr sitjanda
Vidr signianda
Vidr faranda
Vidr fluganda
Skal alta fyr na
Ok om døya
Sér hon upp
Koma öðru sinni
jörð ór ægi
iðjagræna;
falla forsar,
flýgr örn yfir,
sá er á fjalli
fiska veiðir.
um aldrdaga
ynðis njóta.
-Old Norse
Fé vældr frænda róge; føðesk ulfr í skóge.
Úr er af illu jarne; opt løypr ræinn á hjarne.
Þurs vældr kvinna kvillu; kátr værðr fár af illu.
Óss er flæstra færða fo,r; en skalpr er sværða.
Ræið kveða rossom væsta; Reginn sló sværðet bæzta.
Kaun er barna bo,lvan; bo,l gørver nán fo,lvan.
Hagall er kaldastr korna; Kristr skóp hæimenn forna.
Nauðr gerer næppa koste; nøktan kælr í froste.
Unja runo segun
Fahi gali raginakundo
Ís ko,llum brú bræiða; blindan þarf at læiða.
Ár er gumna góðe; get ek at o,rr var Fróðe.
Sól er landa ljóme; lúti ek helgum dóme.
Týr er æinendr ása; opt værðr smiðr blása.
Unja runo segun
Fahi gali raginakundo
Bjarkan er laufgrønstr líma; Loki bar flærða tíma.
Maðr er moldar auki; mikil er græip á hauki.
Lo,gr er, fællr ór fjalle foss; en gull ero nosser.
Ýr er vetrgrønstr viða; vænt er, er brennr, at sviða.
(Translation: The rune primer, Sweyn Plowright)
1: Wealth is a source of discord among kinsmen; the wolf lives in the forest.
2: Dross comes from bad iron; the reindeer often races over the frozen snow.
3: Giant causes anguish to women; misfortune makes few men cheerful.
4: Estuary is the way of most journeys; but a scabbard is of swords.
5: Riding is said to be the worst thing for horses; Reginn forged the finest sword.
6: Ulcer is fatal to children; death makes a corpse pale.
7: Hail is the coldest of grain; Christ created the world of old.
8: Constraint gives scant choice; a naked man is chilled by the frost.
9: Ice we call the broad bridge; the blind man must be led.
10: Plenty is a boon to men; I say that Frothi was generous.
11: Sun is the light of the world; I bow to the divine decree.
12: Tyr is a one-handed god; often has the smith to blow.
13: Birch has the greenest leaves of any shrub; Loki was fortunate in his deceit.
14: Man is an augmentation of the dust; great is the claw of the hawk.
15: A waterfall is a River which falls from a mountain-side; but ornaments are of gold.
16: Yew is the greenest of trees in winter; it is wont to crackle when it burns.
– Mixed old Germanic dialects and phonetic old Norse
Ha ri u ha La thu lau kar ga ka ra lu å le lu le lau kar
That kann ek it ellipta
Ef ek skal til orrustu
Leydha langvini
Undir randir ek gel
En their medh riki fara
Heilir hildar til
Heilir hildi frá
Koma their Heilir hvadhan
Heilir Koma their
Heilir hvadhan
That kann ek it fimmta
Ef ek sè af fári skotinn
Flein í fólki vadha
Flýgra hann svá stinnt
At ek stödhvigak
Ef ek hann sjónum of sék
Othan
– Old high German, phonetic old Norse and Icelandic
Eiris sazun idisi,
sazun hera duoder;
suma hapt heptidun,
suma heri lezidun,
suma clubodun
umbi cuoniouuidi:
insprinc haptbandun,
infar vigan dun
Þann gel ek þér fyrstan
þann kveða fjölnýtan
þann gól Rindr Rani
at þú of öxl skjótir
því er þér atalt þykkir
sjalfr leið þú sjalfan þik
Fjon thvae eg af mer fjanda minna
Ran og reithi rikra manna
Þann gel ek þér annan
ef þú árna skalt
viljalauss á vegum
Urðar lokur
haldi þér öllum megum
er þú á sinnum sér
Þann gel ek þér inn þriðja
ef þér þjóðáar
falla at fjörlotum
Horn ok Ruðr
en þverri æ fyr þér
Þann gel ek þér inn fjórða
ef þik fjándr standa
görvir á galgvegi
hugr þeim hverfi
til handa þér
ok snúisk þeim til sátta sefi
Þann gel ek þér inn fimmta
ef þér fjöturr verðr
borinn at boglimum
leysigaldr læt ek
þér fyr legg of kveðinn
ok stökkr þá láss af limum
en af fótum fjöturr
Þann gel ek þér inn sétta
ef þú á sjó kemr
meira en menn viti
logn ok lögr
gangi þér í lúðr saman
ok léi þér æ friðdrjúgrar farar
Þann gel ek þér inn sjaunda
ef þik sækja kemr
frost á fjalli háu
hræva kulði
megi-t þínu holdi fara
ok haldisk æ lík at liðum
Þann gel ek þér inn átta
ef þik úti nemr
nótt á niflvegi
at því firr megi
þér til meins gera
kristin dauð kona
Þann gel ek þér inn níunda
ef þú við inn naddgöfga
orðum skiptir jötun
máls ok mannvits
ser þér á minni ok hjarta
gnóga of gefit
– Untranscribable German dialect, not for written publishing
Dau host ze de Berje gesoot
Wue se seich hinesetze sulln
Dau host dummols de Sunn ohgefengt
On hast dr Mond un de Stern sue geasahst
dat Eich ömmr Hem fünne doun
Dau host dm Eise gesaht
Wuet wohse sull on aach
Darret bei mir öm Bluet ös
Dau biechst mr dr Wille on satzten zerechte
Doustn hämmrn wein bieses Schwert
Nömm meich usenannr on
Satz meich wörre zesahme
Ganz nau on sue
Dat mr meich net vrhexe ko
Wis mr de Wech dorch de gluiniche Sunn
On zeich mr alles
Dau nömmst et Licht net nur zem hellemache
Eich ho ke Angst öm Dunkle odr deif unne
Weil et Licht et Leawe nömmt
Darret us furmols hat gee
Dau sachst net, wat Eich ze seh hoh
Owr ömmer wu Eich higucke soll
Dau gihst mr net ömmr
Wat eich mr winsche doh
Owr ömmr wat eich bruche
Zwische mei Feinde host dau
Mei beste Lehrr vrstachelt
Dau hast dr Mout med arich Angst igebackt
On de Rou host dau mödde i de
Schwere Schmerze rigedoh
I dr Schöpfung doust dau din
Gsichte on dei Gstalt vrberje
Dei seich ömmr vrännrn doun
Dau hönnrgehst meich ehmoh
So dat Eich nähr bei dr seir ko
On satzt meich
Bei de Ahle bei, dei vor mit gstorwe sei
Dau hönnrlässt mr dr Kopp
Blourch owr meich offracht sti
On itz geh eich min läewe
I dei arich starke Hänn
Des dau druff uffbasse doust
– Old Icelandic
Gunnr, Hildur
Gu∂ur, Herdjötur
Grimger∂, Hjörthrimul, Visna
Hlökk, Gerhildur
Hefna, Geirskógull
Hjalmvingur, Göndul, Kára
Geirahöd, Hrist
Geirdriful, Hervör
Geiravör, Hroshvita, Nipt
Herja, Ølrun
Herthögn, Alvilda
Hjörthrimul, Ortlind, Brynhild
Hermuthruda
Hjalmthrimul, Sigurdrifa
Skaga, Randmey
Svanhvit, Randgri∂ur
Skeggjöld, Reginleif, Ouskmey
Thrudur, Svipul
Tanngni∂r, Sigrun
Thrima, Skalmøld, Blotlokur
Skøgull, Visna
Sangri∂ur, Voglind
Sver∂galdr, Valthru∂ur, Mist
Valthögn, Svava
Randgaldr, Svanmey
Thögn, Valgunth, Li∂aendi.
– Old Norse and German
Fimbulthul
Svæl
Slidhrylgr
Sylgr
Hridg
Vidh
Guntra
Gjøll
Leiptr
Elivagar
Elivagar
Gletscherglimmern
Für Freund Bärenherz
Der einst ins Eisland fuhr
Zermahlen, zerreissen, zerreiben
Eis egelt Stein entlang
Schleift und schleisst ständig
Rollt sich ruhig reibend
Ein in Berges alten Arm
Und ruht rastend nie
Korn kratzt kaltes Eis
Kalbt krachend kühl
Schreit schaurig schön
Wohlgeboren fliessen die Wasser
Stein schleift Schädel
Gletscherglimmern
Einst war ewiger Urgrund
Eis zuerst
Mächtig mahlend, berstend
Malmwasser
Schliff sich ein, schleißend
Ständig unbeständig
Gefriert und wächst, glutfern
Grösser wird es
Zermahlt Stein, zerreisst Fels, zerreibt Knochen
Knochenzermahler, Felszerreiber, Steinzerreisser
Schädelzeit, Schleifzeit, Steinzeiten
Stein schleift Schädel
Des Berges alte Machtberge
Brachst du dir
Und Sonne dir scheint
Schwall um Schwall du gibst
Schleißend und beharrlich schneidend
Die Steinfeste tiefer
Und tiefer
Speist du Sand, speist du Staub
Ständig unbeständig
Basaltalt bin ich, Berg
Eises Bürde tragend
Und Stein schleift Schädel
Des Hohen Himmels Wolkenheer
Fällt ein im Bergesheim
Weint fest auf Gneis und Fels
Und friert zu Zungen
Ständig unbeständig
Und Stein schleift Schädel
EXPLAINED
This is the beginning of the end.
We start with stanza 45 of Völuspá. It is the description of not just the end of the world, but also the rise of a new cleansed world, when the völva recites stanza 59 in the very end. It is the darkest moment known in Norse mythology, a devastating final battle between good and evil that comes to a point of total meltdown. But only that meltdown makes it possible for a renewed and rejuvenated world to arise.
As the theme of this piece describes the birth of a new world, the music arrangements is highly inspired by an actual birth situation. This is clearly visible towards the centre, where the primal scream of the Audugan echoes a new beginning.
The chanting piece, which is a defending spell against evil spirits, origins from an old Swedish amulet:
“Like other Germanic people, the Scandinavians believed in malignant spirits of disease floating around the atmosphere, attacking the unwary (….) A 12th century bronze amulet from Högstena, Sweden, for instance contains an alliterating spell against these roaming spirits of disease” (MacLeod/Mees, 2006)
Norupo is the poem known as “the Norwegian rune poem”. The poem was preserved in a 17th-century copy of a now lost 13th-century manuscript.
Norupo follows the skaldic metre, where the first line always names the stave and gives some indication of its mysterious signification, while the second line adds information that rhymes and is somehow linked to the first line.
The Norwegian rune poem gives a complete description of all sixteen runes of the younger Futhark.
Science seems to agree that the rune poem functions as a mnemonic (memory aid) for the arcane rune names. Nevertheless, we find in Hrabanus Manus’ “de inventione linguarum” (“The history of writing”, 9th century) the following about runes: “These forms of letters are said to be invented among the people of the Northmanni. It is said that they still use them to commit their songs and incantations to memory. They gave the name Runstabas to these letters. I believe, because by writing them they bring to light secret things.” Hrabanus was a Christian, even an archbishop, another version of his manuscript uses the words “incantations, divination and pagan practices” in the same passage.
So it is easy to draw the conclusion that the rune poem signifies and embodies an inventory of pagan myth, spell craft and divinatory lore, and was memorized as verses, as Mountfort states in his work “Nordic Runes” (2001).
The stanzas in the poem are riddling and cryptic, they seem unrelated and only bound by rhyme at first glance. The riddling poem as a way to enlightenment or oracle source is still actively known today in disciplines like Zen and I Ging.
Fascinating here, like in all fully preserved rune poems, are the very clear signs of syncretism. Christ is mentioned as the creator of the heavens, some stanzas later the ancient god Loki is called upon as the successful betrayer.
Finding this in such a strong spiritual text might hint towards a very open mind-set and dialog among the early Norse Christians and late Norse pagans. It evokes pictures of the Galdrmađr (wizard) shamelessly using the name of Christ in his deeply pagan mumbling and singing. In south America today, we still see elements of the pre-Columbian spirituality perfectly harmonizing with Christian elements. In Norwegian stave churches you will find one-eyed wooden idols preserved in the structure, indicating that Odin was welcome to Sunday service, whatever part he played there and then…
The topic of pronunciation of such old and lost languages is always very exciting. In Norupo we use a local dialect from Borre in Vestfold, eastern part of Norway, to shape the pronunciation of the ancient words. This dialect is still spoken today.
Since we can’t date the poem back later than the 13th century, we do not link it to the Vikings, as the continental Viking age ends in 1066 AD. But we can still feel the vital echo of pagan lore and tradition in these old lines.
Othan is one of the compositions that, in a Heilung context, might appear as a relaxed song. Nevertheless, it contains ancient combat protection spells and Odin, the highest northern god, appears as the lord of war.
The first part is a combination of spells from bracteates (see also: Futha explained) which is very hard to grasp or translate. These pendants or coins were produced mostly during the migration period up until the 7th century AD in northern Europe. They were mostly made from Roman gold, which the Germanic tribes received as peace money. The inscriptions are still discussed controversially amongst rune researchers. Some clues that hint towards the words leek, ale or a cuckoo can be traced, but most of the time it seems to be very difficult to grasp a meaningful sense in the inscriptions.
Although the High One enjoys war, he also indulges in poetry. Othan therefore has a second part where the white mistress of incantations recites the words that the High One gave to man: A spell sung under the shields to bless them and protect the warriors. (Hávámal, stanza 156)
In the third part the mood gets darker and we have now reached the point of an active combat spell. The power to stop an arrow in its flight is invoked. (Hávamál stanza 150)
After that the name of the highest Nordic god is repeated in a wolfish, barking mantra, partly to transport the feeling, that the ancient Nordic warrior groups often perceived themselves as animal packs. This is for example described by Ibrahim Ibn Yaqub, a 10th century traveller and merchant, who writes that the people of Hedeby were singing in a barking manner.
The First Merseburg Charm is the origin of the lyrics for the first part of this piece. The Merseburg Charm originates from a manuscript found in Germany dating back to the 10th century. A Christian cleric noted it on the blank page of a liturgical book.
One of the interpretations by Emil Doepler (1905) is that this first spell is a “Lösesegen” (blessing of release), describing how a number of “Idisen” are freeing warriors caught during battle from their shackles. It is mainly believed that the word ”idisi” refers to the dís, female spirits or deities that in origin may have been minor godesses of fertility. The last two lines contain the magic words “Leap forth from the fetters, escape from the foes” that are intended to release the warriors.
The second part is based on the so called ”Grógaldr”. We find this poem in several 17th century manuscripts from Iceland. Grógaldr, also as one of nine spells, contains a ”Lösesegen” (leysigaldr) in stanza 10.
The chorus by the male choir, sings the spell connected to the Helm of Awe ”Agishjálmr”. The symbol was first published in the Galdra book from the 17th century but mentioned already in the poetic edda Fáfnismál.
Vapnatak is an old Norse word. Its meaning describes the ritual of raising the weapons in order to swear allegiance to the chieftain in times of battle, blessed by the lord of war. In old Norse mythology the lord of war is also the creator of the world.
The poem, written by Heilung, was spoken under a reconstructed Germanic shield during the recording, and begins with the description of the power of the creator. It describes how the mountains were placed and the sun ignited. It continues with the growth of iron in soil and blood, and how it turns into swords that crave the blood. It finishes with the total surrender of all personal salvation into the strong hands of the primal leader of all warriors and admirer of combat.
The Iron Age warrior most probably saw life and war on earth as a performance test to join the army of the dead, that would face the forces of chaos in the final battle. They dedicated their kills to their divine leader, and many of them took care to grant their enemies the same honourable death they wished for themselves. The habit of getting dressed in one’s finest clothes to step into blood feud related combat is known from early Icelandic literature.
Vapnatak is spoken in an old German dialect that can be safely traced back to Frankish roots. The dialect is close to extinction and never got properly transcribed.
The area where the dialect originates lies on the northern border of the former Roman Empire and the last Roman findings in the area date to 9 AD. This is the year of the great battle in the Teutoburg Forest, the result of which was the total retreat of the Romans from that region. Later a great wall, the so called “Limes”, was built by the Romans, placed a little further south.
In this very region we find the image of the “bearded, long haired barbarian”: The local tribe, the “Chatti”,as described by the Roman historian Tacitus, did not allow the male youths to shave or cut their hair before they killed their first enemy, which resulted in hordes of very aggressive, bloodthirsty young men with long hair and wild beards.
The imagery we had in mind during the creation of Vapnatak was a battle scene between the Chatti and the Romans, seen from the perspective of the Chatti, as it could have been taken place in this region before the birth of Christ.
This one is entirely for the female warriors.
Svanrand is inspired by an early mediaeval collection of names of the Valkyrjur.
In this poem, we recite all the Valkyrjur names known from multiple sources, and in order to fit the metre and rhyme, some new Kenningar (a special type of metaphor much used in old Norse poetry) for the Valkyrjur are added by Heilung.
A prayer to our fair ladies, Wotan’s brides, the guardians of the fallen – these are just some careful translations of the meaning of some of the names in the poem.
The song title itself, Svanrand, means “swan-shield”, and is one of these new names given to us during the creation of this song. Because every second syllable is recited in a polyrhythmic manner from the middle and towards the end of the piece, new magic names appear .
It is very rare to find poems from the early medieval period that follow the rhythm in the stanzas so closely as they do in Svanrand. Since there is no need to follow the rules when telling a story that is “just” a list of names, the possibility presented itself to weave the stave rhymes very tight around the rhythm patterns.
Such lists of names, like the one used in Svanrand, are known as Thulur in old Norse poetry. We elaborate further on the Thulur in the explanation of the song “Elivagar”.
The composition of Svanrand was written by Heilung during several years of work, the vision was that the names should follow a very strict metre, similar to the metrical forms of old Norse poetry, yet arise new and amplified from these ancient texts.
For Svanrand a new metre in an old style was developed, which we decided to call Heilungháttr. The names of the Valkyrjur were carefully collected, researched and sorted in stave families. These were split, so each stanza contains at least two families, in order to avoid sterile monotony. The names were then arranged regarding their punctuation in the name itself and where it should be placed to provide the frame for the rhythm of the piece. Because the names lead the way, we end up with a 4-5-7 beat that fits perfectly with a polyrhythm of a halftime 8/4.
In this song the female body itself was used to produce the clapping elements in the rhythm, and as the names of the Valkyrjur often are related to the sounds of battle; arrows, shields and swords are also contributing their acoustic gifts.
The last step was to place all names so they follow the changing number of required syllables in each line harmonically. What takes a couple of minutes to sing, had a couple of years’ preparation time.
Elivagar is the song about the ice-rivers or waves that constantly flow, vaporise, condensate and freeze over in the omnipotent void Ginnungagap, at the beginning of creation in Norse mythology.
Elivagar carries in sounds and words the signature of ice and glaciers, of rain and the rivers being born by the mighty ice layers. We feel the power of a volatile, unreliable element, that is able to grind down mountains.
Since mankind is a part of nature, condemned to function and flow with the powers and energies of the elements, the alliterations are also analogies to emotional coldness. The silence of an angry and sad woman, grinding and more destructive than a mighty thunderstorm, and the ice cold hate of a long grudge can be felt in this homage to the unstoppable, patient force of ice, permanently impermanent, grinding and slowly moving, unstoppable even by rock.
Seen in this context, Elivagar might be able to support meditations about aspects of the Isa-rune.
We know the names of many ice- rivers named in old Icelandic poetry, in Elivagar, Heilung placed them in a new stave rhyme poem in the tradition of the so called Thulur, lists of names known from early mediaeval Nordic poetry. Similar lists can be found in Hinduism (Names of Shiva) and Buddhism (Prayer of the 1000 names of Buddha) and have existed for thousands of years. To pass on information in rhymes might have helped to control the dynamics of oral tradition in traditional belief systems and folklore.
The majority of sounds in this piece are produced by actual ice. Ice was broken in pieces of different sizes, hit by ice or smashed and grinded together. It produces the unique sounds that only nature itself can give.
Elddansurin is an ovation to fire, celebrating this life giving and yet deadly element.
The lyrics are again following old Norse patterns, reciting words that are related to fire and wood.
The atmospheric sound you hear in the beginning that later turn rhythmic, is purely made out of actual fire. The low-end rhythmic elements added soon after are made from timbre.
Maybe some will hear Loki Seidr in this and get the idea that the song is hailing the trickster. This however is not intended by Heilung, as the connection between Loki and fire is a Wagnerian idea which has no root in the original manuscripts. The second last word in the spell of Elddansurin, Logi, describes a completely independent deity that is a personification of fire.
The proof that Loki and Logi are two different beings can be found in the old Icelandic poem Gylfaginning (“ The tricking of Gylfa”). In this text the two deities Loki and Logi actually meet.
The last word, Seidhir, is the word for cooking fire in old Norse.
In this song the listener has the chance to experience something that most probably came to us all the way from the hunter-gatherer period. The rhythmic throat singing in the beginning, that gave this piece its name, follows the most northern tradition of the globe. Our sisters from the first nations of Greenland and Canada are the only ones still singing in this style and it is supposed to bring happiness and laughter. Heilung of course adds its own elements, so the style of singing is adapted. The words though, are old Norse. This language, once called “Dansktonga” (Danish tongue), was in use when the Norsemen and the arctic first nations initially met. Our forefathers called all people northwest of their regions “Skrælinger” (screamlings) which should not be mistaken for “Særklinger” (gownlings) which was used for the people from the Arab world. Mentionable here is that these two words describe sounds and dresses, not skin colour or body size.
In Hamrer Hippyer, Heilung as usual travels through time and space, and the most ancient sounds turn into an evocation to Wodan, the high god of the Germanic tribes. Here he is called upon as the great healer. From the 9th or 10th century we know spells in old High German, preserved in the so called Merseburg incantations. In these spells, traditional pagan rhyme (alliteration) merges with the Christian end-rhyme. Analogies to the Merseburg incantations can be found in Gaelic, Latvian and Finnish, which might hint towards an ancient Indo-European origin of these charms. Ancient Indian sources also provide similar spells.
In the beginning, spells to calm fire and inflammation are chanted, only to later be followed by the mighty words of Wodan, healing blood and bone. We remember that Heilung means “healing” or “cure” in modern High German. It is not a coincidence that we regularly read reports from people that have experienced an activation of their self-healing powers, and sometimes progress with or full recovery of even chronical diseases, which is the aim of the medicine. Heilung does not only believe in the healing power of its sound and especially the live-rituals, we experience it.
We consciously entice and release the healing and helping spirits from the past.
The sounds in this piece might describe a raging, painful sickness or accident, and the cry for help. The spell itself is recited in beautiful, enchanting tones and through repeating it, it unfolds its effect. It is its own kind of medicine, that can lift you up from the dark world of hurt, so you may breathe again.
The song finishes with a calming and soothing iron age Norwegian blessing and the sounds turn from exhausting and grinding, to a more released, atmospheric spectrum.
All is well.
Drif 2022
LYRICS
Gau is nurna gangan yng yng pjarr
Hang hang gang gang
Hymir ganda skadla hym hym gan
fold fold Har har
ou mi galdr madr aus aus ætt
Oum oum gal gal
fu thork haniast bjamlyr futh fu thork
Futh futh bjam bjam
Hyndla horskr moudr mau mau kat
Happ happ tak tak
Asja angan Bjarga
aust standa ok faur kverfra
asja anga næ næ næ
Ok thu e-er truir truir truir
Asja angan Bjarga
aust standa ok faur kverfra
asja angan tjau tjau tjau
Ok thu e-er aur aur aur
Asja angan Bjarga
aust standa ok faur kverfra
kann ek galdr at gala
ønd og heidl shau er kan
Asja angan Bjarga
aust standa ok faur kverfra
jafnan sædl ourlausn
fridhr madhr opt opt opt
Athilr Rikithir Ai
Eril idi Uha Ijalh
Fahd Tiade
Elifi An It
Athilr Rikithir Ai
Landawariar Ano Ana
Fahd Tiade
Elifi An It
Aelwao
Ano Ana Tuwa Tuwa
Tau Liiu
Ano Ana Tuwa Tuwa
UL FOS LAU
LAL GWUL PeD UL ULD AUL
LEI ELw ATH RET LAE TySS Oth REI GUI
AU AUU LA
OA SEJS ZUL AU AL HaR
HaSS Ka TIL AZ Ha IR EL UNOZ LEIT
Una DZ GUI
UI THUL UHNG Ur OI WHUG
DIT La La LIH LaL Ur USK GLa Thu
LAL La La
La TLG Thu TiL Ur Ur
Ur Ur GeL THuL So Oth LAU IA TyL
LI RAI WUI
IL DAI TU Han UTH A
IUr EL AL Dan An ER UI AL EIZ
An RA TIU An KU AK
U-THA-I-U-EL-AL-DA-A-ER-UI-AL
Athilr Rikithir Ai
Liraiwui ildaithua
Au Auu Elifi An It
Athilr Rikithir Ai
Landawariar Ano Ana
Fahd Tiade Elifi An It
SATOR
AREPO
TENET
OPERA
ROTAS
Jorð biðak varðæ
Ek er austir ok
Ek er sannindi
Ek er friðr ok
Ek er sjaulfraudhr
Sun ar tirs or reid
Ar reid ar birk or
Tir ar non ar tir
Or birk ar reid ar
Reid or tir ar sun
Stourauddhr
jafnan
Læknæshan
Ok Lif
Tunge kuth
Manna for raudh
Fas Sol
Invictus
amicita
pax
portantibus
delicæ salus
habentibus
et pacem
at stat
fortuna
opus
aglakuth
Urbani, servate uxores, moechum calvum adducimus Aurum
in gallia effutuisti, hic sumpsisti mutuum.
Gallias caesar subegit, nicomedes caesarem, ecce caesar nunc
triumphat qui subegit gallias. Nicomedes non triumphat, qui subegit caesarem.
Gallos caesar in triumphum ducit, idem in curiam, galli bracas deposuerunt, latum clavumsumperunt.
Träge liegen die Hügel
Unter der Morgendämmerung Siegel
Träge zieht durch die Täler der Nebel
Aus dem sich Baumwipfel erheben
Still! Stehen Legionen bereit
Im rotsilberrömischen Waffenkleid
Dann scheint die Sonne über den Horizont
Und ein langes klagendes Hornsignal ertönt
Es erschallt wieder und wieder
Erst zaghaft, dann stärker erheben sich Trommellieder
Dann endlich die Carynx erschallt, weit sie klingt
So mancher Legionär die Knie zur Ruhe zwingt
Dann beginnt der Wald sie auszuspeien
Erst in großen Gruppen, dann zu zweien und dreien
Gar prächtig sind sie anzusehen
Wie sie da hochwohlgerüstet stolz im Morgenlichte stehen
Gar manchen Helm, den schmückt der Eber
Ob aus Eisen oder Leder
Auch der Hirsch auf dem Gewande darf nicht fehlen
Wolf und Bär, sie sind verwandte Seelen
Frischpoliert der Schild
Mit langem Schwerte steht der Held
An langen Stangen mutig flatternd Banner schwingen
Wo noch immer schaurig Lurenrufe Klingen
Still! Die Adler auf der anderen Seite
Es wehen nur die Umhänge der Reiter
So sammelt sich das Keltenheer
Rufe schallen hin und her
Dann plötzlich wird es stille
Und ein großer Krieger tritt aus ihrer Mitte
Er legt ab wohl Helm und Brünne
Die Hose und den Schutz auch für die Beine
Bis er nackt im feuchten Grase steht
Nur mit Halsreif, Schild und Schwert
Und als er dann über die Lichtung schreitet
Wird er mit Schildschlag und Gesang begleitet
Entschlossen baut er sich vor der schönsten, goldenen Rüstung auf
Und verkündet dem Feindesfeldherrn rundheraus
Vor dir steht der Fuerst der Hirschenleut´
Und ich sage dir: Lass uns nicht unnütz Blut vergeuden
Schicke deinen stärksten Kämpfer gegen mich
Mann gegen Mann, nur er und ich
Wenn er siegt, so weichen wir
Doch siege ich, so weicht dann ihr!
Schweigend nimmt der Gegener seine Rede auf
Nur sein Pferd tänzelt nervös und schnaubt
Und auf ein Nicken
Fährt der Tod
Auf pfeilernen Hornissen
Mannigfaltig in des Kelten Brust und färbt sie rot
Und als er dann vornüberfällt
Ein mächtiges Geschrei anhebt
Es sind die Waffenbrüder, die da schreien
Wollen sich von ihrer Wut befreien
Es fliegen Helm und Harnisch, Kettenhemd
Sie hätten uns im Kampf doch nur beengt
Trommel- und Carynxenschall ertönt nun wieder
Laute, rohe, Schild- und Schwerterlieder
Wiehernd fährt im Wagen einer vor
Laut dringt sein Ruf an jedes Ohr
Wie er mit wohlverziertem Arm die Klinge schwenkt
Und mit dem anderen seine Pferde lenkt
„Vorwärts, vorwärts, meine Brüder
Singt der Ahnen Schlachtenlieder
Tränkt das Schwert mit Römerblut
Denn nur so erlischt der Götter Wut!“
Wie ein Schleudergeschoss fliegt er den Reihen entgegen
Und aus dem Geschoss wird ein Regen
Alle rennen und reiten, den Schildwall zu brechen
Den toten Häuptling der Hirsche zu rächen
Jeder wagen reißt eine Wunde, bricht Schilde
Doch sie schließen sich wieder, es sind viel zu viele
Wie sich Wasser glättet, fällt ein Stein hinein
Bleiben standhaft wie unverletzt die rømischen Reihen
Und ist das Keltenfussvolk dann herangeielt
Hat sich die Legion schon längst beeilt
Die Reihen wieder aufzustellen
Und die Kelten um den Sieg zu prellen
Und siehe, es wächst ein gewaltiges Schlachten
Unter den Menschensöhnen
Die einander nicht achten
Sie zerfleischen und zerfetzen und zermalmen sich
Blutbesudelt, Todesantlitz, Hassgesicht
Einst trug er am Gürtel stolz die Köpfe seiner Feinde
Jetzt rollt ihm dort der eigene
Jener, der so heldenhaft herangelaufen
Hat nun blutend unter Beinverlust zu schnaufen
Dieser, der den Wurfspieß führte so behände
Ist schreiend nun beraubt der feinen Hände
Und die schöne, stolzgeschwellte Muskelbrust
Leidet unter Herzensstich und Blutverlust
Kalte Provokation und warten der Römer hat sich bewehrt
Ohne Siegesaussicht stürzen die Nackten sich in ihr Schwert
Weichen zurück, geben sich selbst den Tod
Gefangen zu sein wär die größere Not
Schwächer nun Lure und Carnyx erschallen
Und man sieht keltische Standarten in die Blutsuempfe fallen
Nur die römischen Adler recken sich immer noch
Und die Formation hat kein klitzekleines Loch
Stehen glänzend rot und unverrückt
Darüber ist der Feldherr sehr entzückt
Vor ihn hat man den Keltenfuehrer hingeschleift
Es interessiert ihn nicht mal, wie jener heißt
Todeswund der einst so stolze Mann
Der vor dem Römer nur noch kriechen
“Ach, wäre ich doch niemals aufgewachsen,
Niemals doch geboren
Es wäre besser wohl gewesen
Als zu kriechen vor dir auf dem Boden
Vae victis!
Wehe den Besiegten
Die im Staub vor Römern liegen!”
Nun ist keiner da um Frau und Kind und Hof zu schützen
Der Rømeradler Weiß das wohl zu schätzen
Er schwingt sich auf und zieht eine Große Blutspur durch das Land
Das uns als Gallien wohlbekannt.
Gang út, nesso,
mid nigun nessiklínon,
Gang út, nesso,
mid nigun nessiklínon,
út fan themo marge an that bên,
fan themo bêne an that flêsg,
út fan themo flêsgke an thia húd,
út fan thera húd an thesa strá-la.
Drohtin, uuerthe só
Gang út, nesso,
mid nigun nessiklínon,
Gang út, nesso,
mid nigun nessiklínon,
út fana themo marge an that bên,
fan themo bêne -an that flêsg,
út fan themo flêsgke -an thia húd,
út fan thera húd an thesa strá-la.
Drohtin, uuerthe só
Reðr iðr sol tiðr iðr laghr
Oða´s iðr sol tiðr iðr laghr
Thors iðr sol tiðr iðr laghr
Kön iðr sol tiðr iðr laghr
Maðr iðr sol tiðr iðr laghr
Ur iðr sol tiðr iðr laghr
Reðr iðr sol tiðr iðr laghr
Oða´s iðr sol tiðr iðr laghr
Thors iðr sol tiðr iðr laghr
Kön iðr sol tiðr iðr laghr
Maðr iðr sol tiðr iðr laghr
Tidhr sædl ast saela blidhr batnar
Reðr iðr sol tiðr iðr laghr
Oða´s iðr sol tiðr iðr laghr
Thors iðr sol tiðr iðr laghr
Kön iðr sol tiðr iðr laghr
Sol sædl ast saela blidhr batnar
Tidhr sædl ast saela blidhr batnar
Reðr iðr sol tiðr iðr laghr
Oða´s iðr sol tiðr iðr laghr
Thors iðr sol tiðr iðr laghr
Oða´s sædl ast saela blidhr batnar
Sol sædl ast saela blidhr batnar
Tidhr sædl ast saela blidhr batnar
Reðr iðr sol tiðr iðr laghr
Oða´s iðr sol tiðr iðr laghr
Idhr sædl ast saela blidhr batnar
Oða´s sædl ast saela blidhr batnar
Sol sædl ast saela blidhr batnar
Tidhr sædl ast saela blidhr batnar
Reðr iðr sol tiðr iðr laghr
Sol sædl ast saela blidhr batnar
Idhr sædl ast saela blidhr batnar
Oða´s sædl ast saela blidhr batnar
Sol sædl ast saela blidhr batnar
Tidhr sædl ast saela blidhr batnar
Oða´s sædl ast saela blidhr batnar
Sol sædl ast saela blidhr batnar
Idhr sædl ast saela blidhr batnar
Oða´s sædl ast saela blidhr batnar
Sol sædl ast saela blidhr batnar
Tidhr sædl ast saela blidhr batnar
Sol Liðønd ø dæmi æri aurvænn
Tiðr Liðønd ø dæmi æri aurvænn
Egr Liðønd ø dæmi æri aurvænn
Fir Liðønd ø dæmi æri aurvænn
Nand Liðønd ø dæmi æri aurvænn
Agr Liðønd ø dæmi æri aurvænn
Ha-anuta niyaša ziúe
Sinute zuturi Ya úpugara
kud˺urni tašal Killa zili Šipri
ḫumaruḫat úwari
ḫumaruḫat úwari
waandanita úkuri Kurkur taiša-al-la
Úúlali kabgi alligi širiit murnušu
wešaal tatiib tišiya
Wešaal tatiib tišiya
úú-nuga kapšili únugat akli
Šaamšaamme liil uklaal tununita ka hanuka
kalitaniil nikala
Kalitaniil nikala
niurašaal ḫana ḫanutethui
Attayaaštaal atarri ḫueti ḫanuka
niura-ša-al ḫa-na ḫa-nu-te-tui sati
weewe ḫanuku
Weewe ḫanuku
Aasarre
Asaralim
Asaralim nunna
Tutu
Tutu-ziukinna
Tutu-ziku
Tutu-agaku
Tutu-tuku
Sazu
Sazu-zisi
Sazu-suchrim
Sazu-suchgurim
Sazu-zachrim
Sazu-zachgurim
Enbilulu
Enbilulu-epadun
Enbilulu-gugal
Enbilulu-chegal
Sirsir
Sirsir-malach
Gil
Gilima
Agilima
Zulum
Mummu
Gisnumunab
Lugalabdubur
Pagalguenna
Lugaldurmach
Aranunna
Dumuduku
Lugalsuanna
Irugga
Irgingu
Kinma
Dingir-esiskur
Girru
Addu
Asa-ru
Ne-beru
Enlil
Marduk
Marukka
Marutukku
Mersakusu
Lugaldim erankia
Nari,lugal,dimmerankia
Asalluchi
Asaulchi-namtilla
Asalluchi-namru
EXPLAINED
This is a love song.
Maria sings to the listener of love, recovery and prosperity, chasing away evil and welcoming love. The piece contains a quotation of some lines of “Hávamál”, combined with a selection of blessing words meant to provide help to the listener in a troubled time.
Kai brought his part back to us after a month of isolation, fasting and meditation in nature. Only the spirits know the full meaning, but we do know that the context is love, prosperity and protection.
The sonic composition of this song is made up of very basic elements and consists of body sounds, drums, leaves, straw-brooms, bowed lyre and vocals. Asja is Heilung’s take on a more traditional folk song.
We would expect the pre-Christian people of Northern Europe to have perceived this as a magic song: performed with intent as an entity with its own power and agenda, which, once summoned through sound, follows its design and creates the desired outcome.
This is our voice being sent out there with the intent to heal and bring progress and prosperity.
This is a spell from the beginning of the Dark Ages.
The lyrics for this piece are mainly taken from bracteates: golden, circular coins or amulets found in Northern Europe that date from the 4th to 7th centuries CE. They are often fitted with a decorated rim and loop, which indicates that they were meant to be worn and perhaps provide protection, fulfil wishes or for divination.
The bracteates feature a very significant iconography influenced by Roman coinage. They were predominantly made from Roman gold, which was given to the North Germanic peoples as peace money.
A small number of the bracteates found are inscribed with runes and some of these inscriptions are nearly impossible to interpret. While Maria’s parts of the song are taken mainly from bracteates discovered in Norway, Kai’s part is exclusively taken from Danish finds, all of them with inscriptions that provide no answers, only questions. Runologists do not even attempt a translation.
Even though it might sound like it, no sampled sounds or modern instruments were used to create Anoana. The piece is played 100% acoustically on ancient instruments that have been heavily altered, morphed and filtered in post-production to achieve a larger than life deep dive into the amplification of the recorded sounds.
In Anoana, the listener has the chance to delve into a collection of likely encoded spells from the Migration Period and get a touch of magic from the Dark Ages.
The intention of the piece is to playfully reconnect to an incantational language of a period where the North was richer in gold than any other region. Our forefathers presumably enjoyed a time of great prosperity and it may make us rethink how dark these ages really were.
Tenet is a palindrome in every respect: all individual musical parts, melodies and instruments (and even at times the lyrics) play the same both forward and backwards.
The song is based on the so-called “Sator Square”, the earliest datable two-dimentional palindrome, first found in Herculaneum (Italy), a city buried under the ashes of the erupting Mount Vesuvius in 79 AD, at that time part of the flourishing Roman Empire.
What is particularly interesting with this palindrome is that not only does it read forwards and backwards but also diagonally in both directions.
S A T O R
A R E P O
T E N E T
O P E R A
R O T A S
Its translation has been the subject of much speculation through time and no clear consensus has been found. A lot of myths have evolved around this little square, and inscriptions of it have been discovered all the way up to 19th century Scandinavia as a protection against theft, illnesses, lightning, fire, madness, general pain and heartache. It can be found carved in churches (Skellerup, Denmark) or in books about black magic. Eight times it was carved in runes, the inscriptions of which have been discovered in Iceland, Norway and Sweden.
Some rune sticks from Bergen contain the square alongside Christian evocations: in Tenet, Heilung picks up the odd mix of old Norwegian and late Latin phrases, mixed into benevolent wishes to ensure good luck or health. Syncretism, as we see it today in South America, i.a., where an indigenous healer wholeheartedly chants the name of Christ in the traditional healing songs, was maybe not uncommon in mediaeval Scandinavia.
As the magic square travels through time, culture and countries, most of our European ancestors were probably familiar with it. Heilung has with this piece thus chosen to indulge in many languages from different time periods and regions, starting out with Latin, then onto Proto-Germanic, Old Norse and Gothic.
The unusual melody of the piece is created with a special code system employing numbers, runes and Latin letters taken from the square itself, and deciphered in a complicated system to give birth to Heilung’s first melodic palindrome.
This is a song that has been sung in the Roman army.
In his biography of Gaius Julius Caesar, the Roman historian Suetonius provides us with a record of this song. It is said that veterans performed the piece with a heavy mocking undertone during Caesar’s march of triumph in 46 BC in Rome. The Emperor is called a squanderer of tax money with a questionable sexuality and his political actions are ridiculed.
Suetonius leaves us no clue of how it was sung, so we had to dive into the meagre records of Roman military music. A late Roman poet, Prudentius, talks about song structures in sets of four beats, counting up to twelve.
The legionnaires’ voices are supported by the banging of their spears (pilum) against the shields and we hear an endless amount of heavy military shoes (caliga) hitting the ground.
The rhythm is in the so-called “forced march speed” still in use in some armies of our time. To recreate the sound for Heilung, we took our field recording equipment and stomped back and forth over a reconstructed Viking Age bridge outside Albertslund Viking Village (Vikingelandsbyen) a few hundred times.
On Trajan’s Column in Rome, horn players are depicted marching with or rather in front of the legion. They play an instrument called Cornu (horn). A beautiful example was unearthed in Pompeii. It was used to manage the movements of the legion on the battlefield. The horn can produce very powerful, thrilling, even frightening sounds.
One of the instruments audible in this piece is a reconstruction of the Cornu.
This is a poem written 20 years ago with the aim of leading the listener into the Iron Age.
The piece describes a clash of cultures: Celtic tribes colliding with Roman attitudes and military machinery. It is a fictional battle, conjuring up/evoking visions of warfare in the first century BC.
In the beginning, we hear the Celtic people’s army in all its martial beauty gathering in front of the Roman troops. Having just marched in, the Romans now stand still and silently waiting in perfect formation.
The chieftain of the Deer People, an impressive man, steps in front of the line, undresses and walks naked towards the Roman army leader while his comrades sing a war chant.
He offers the mounted officer a chance to solve the dispute in a battle of champions. After ancient habit, only the best warriors would meet on the battlefield and so decide the outcome in a court of weapons: a lifesaving tradition of the Iron Age farming cultures where most warriors were also farmers, fishermen, blacksmiths and so on.
The Roman officer, with a purely professional army behind him, does not deign to answer and has the chieftain shot down by his archers. This incurs the wrath of the Celts and an indescribable bloodbath unfolds.
Several historians of the time suggest that women took part in battles alongside the men: not merely to have their back, but also actively engaging in combat.
The Romans, prepared for the imprudent attack, mercilessly slaughter them all and we hear desperate cries of both men and women. Following the Celtic habit of committing suicide to avoid captivity, even the last warrior meets his end.
While the last flags fall, we hear a once-proud warrior lament the downfall of his people, regretting having lived to see the sacred land of his ancestors now unprotected and open to a ravaging foreign army.
The poem itself is in New High German, whereas the chants and shouts are in Gaelic, a fellow Indo-European language, but of the Celtic Branch.
This piece is an ancient healing spell to pull sickness out of the leg of a horse.
In early medieval europe, sickness, disease and pain were often imagined as taking the shape of demonic worms crawling around the body. Songs and spells against worms are thus a big part of ancient European healing magic, not only for humans, but animals as well.
Nesso is rooted in the conceptualisation of a time where people perceived the work of spirits and unseen entities in every event of their life. Every disease, every weather phenomenon had intent, genius and soul. The concept of dead matter and beings without intelligence and cause was not known and likely not graspable for our ancestors.
The church, of course, opposed these habits strongly. Although interestingly enough, the clerics themselves preserved some of the incantations. The one we use in this piece is one such, called “Contra Vermes” (against worms), dated back to the 9th century. In this particular spell, the incantation aims to make the worm move to the outside of the body and get caught in an arrowhead. The arrow was then shot into the forest, as the forest was seen as the home of spirits, demons and sickness.
We do encounter a controversy in translation and interpretation in this piece, as the Old High German word for “arrow” has another possible meaning: “hoof frog” (triangular underside of a horse’s hoof), which is the part that would have to be removed, since this is where the worm is caught.
The sonic side:
As in all Heilung’s pieces, all sounds are of natural origin before being moulded between Christopher’s firm hands. In Nesso, we are utilising the most ancient way of recording sound: singing directly into a resonating copper string tuned to the same note, echoing ghosts from the past.
The beastly components consist of animalistic, impersonated footsteps in gravel and hay.
The male underlying vocal imitates the worm being exorcised by Maria singing the spell. No live horse was harmed in the creation of this piece.
The deep singing voices are played at half speed, imitating the slowing of time often experienced in near-death situations.
The bowed lyre (jouhikko) being played in this song has a similar function as bowed instruments used in healing rituals for animals by, e.g., nomadic Mongolians.
Maria was placed in a mind-space where an animal very dear to her was dying. The tears and pain in her voice are therefore very real and recorded in one take.
This is a curse.
Buslas Bann is inspired by the rune spell of Busla from “Bósa saga”: a legendary saga written in Iceland around the 13th century. The Icelandic original contains incredibly coarse language.
We find rune carvings related to the curse in the stave churches of Nore and Lomen (Norway) and many other places of early mediaeval Scandinavia, but inscriptions have also been found on the almost a century older rune stones from Gørlev (Denmark) and Ledberg (Sweden).
The general translation of these inscriptions is difficult, but it is believed that it could be a protection from beings that bring damage, also taking Busla’s curse into consideration, which could be some kind of spell of release at least.
Here Heilung also dives into the field of runic lore.
In the song, you hear some runes taken from Ole Worms “Runir seu Danica Literatura Antiqvissima” published in 1636.
In the saga, the actual rune spell that Busla knows is not mentioned.
We start out singing the devastating words that are supposed to bring downfall and terror.
Line byline we change it into a blessing, like sun follows rain and spring follows winter.
It finishes with six blessing staves that celebrate the all-unity and ensures the aid of the supporting spirits. Only living with the cycles of nature can give us the power to sing the evil powers of winter away come spring. The understanding that the seed has to die in order to spark vitality can bring back our joy of life in the face of death and we can celebrate that short moment of perfect balance,for example at the equinoxes.
Music and dance is the primal language of mankind. In it, we can experience the divine harmony woven through all of existence.
The echoing yells heard in the background are recorded in a lava desert in Iceland to bring the listener sonically closer to the birthplace of the piece.
This is a song from the Bronze Age.
The song was found carved into clay tablets in the Canaanite city of Ugarit (modern-day Syria) and is dated at 3400 years old. It is currently the oldest surviving complete work of annotated music. The tablets contain not only lyrics and notes, but are also believed to contain instructions on how to tune the harp or lyre-like instrument for the song. The ancient composer’s name is unknown.
The song is written in an Ugarit dialect, which differs significantly from other sources of the period. The translation is not easy, as might be expected, and various researchers have made differing translations and interpretation attempts. However, we do know as much as that the piece is a hymn to the goddess Nikkal, the daughter of the Summer King and the wife of the Moon God. Her name means “Fruitful Great Lady” and she is equal to the later Sumerian Ningal, mother of Inanna (later worshipped as Ishtar, goddess of, i.a., love, war and political power).
The piece contains appeals to her for fertility and cleansing, according to the circulating translations.
In one of the scientific interpretations of this ancient song notation, we find two harmonising melodies for the harp-like instrument accompanied by the lyrics for the song.
Heilung has applied these melodies, probably originally intended for the instrument, to the vocals and lyrics and composed a third melody, most prominent in the lower register, weaving the existing two melodies together.
This is the 50 names of Marduk.
Transported by handmade singing bowls of bronze, we arrive at another poem. From the ruined library of Assurbanipal in Nineveh (modern-day Mosul, Iraq), the lyrics for this piece emerge, quietly whispered.
It is the fifty names of Marduk, the highest god of the Mesopotamians. Although the clay tablets bearing the text date back only to the 7th century BC, according to assyriologists, the origins of the text lie in the first Babylonian dynasty (1894 – 1559 BC).
“Enuma Elish” is the original title of the Babylonian creation myth, which finishes with the list of Marduk’s names and royal titles on the seventh tablet.
