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Adalruna Interview; Here Begins the Tale (...a Son of Odin)
Wednesday, October 15 2008 @ 01:00 AM PDT
Contributed by: Sage

Adalruna Interview

Heathen Harvest:  Firstly, can you tell us the origins of Adalruna, when and why it began, and what it has evolved into today?

Wulfheim:  Adalruna began under a different name and was musically more ‘ambient’ and ‘electronic’. The themes were based on fantasy and science fiction; just quite childish things that I often used to delve into, and still do to some extent, to escape the humdrum world. The project was quite terrible! I’ve always liked black metal to some degree, especially the more ambient bands like Burzum; so more of that type of musical influence began to appear until I decided I wanted to start a whole new project with a more serious outlook. I have always been completely obsessed with Norse mythology, mainly because of Wagner, but not until I was about 17 would I have called myself a ‘pagan’ - and not until about 2006 would I have actually meant it! The more I looked into myself, my heritage and my pagan beliefs, the more I became racially aware. This has had a massive influence on my music thematically as I delved more into the writings of the Ariosophists, and disregarded the hippy/new-age rubbish. Promoting my new ever-developing worldview was my mission, and Adalruna was my vessel. Initially when I began Adalruna it was simply ambient black metal done quite badly, but I like to think it has evolved with me, becoming more refined, mature and interesting as time goes on. Since my demo ‘Summoning the Ancient Power of the Runes’, most of my music is more ‘epic’ sounding, which I feel is the most effective way to communicate the nature of the Aryan race and traditions. 

HH:  You are known as being close to the Heathen Circle (http://www.heathen-circle.org).  Tell us a bit about this Organisation and their mission, as well as the part you play in it.

WH:  The Heathen Circle is, to put it simply, an organisation and (mainly online) community devoted to spreading Indo-Aryan and pagan awareness through music and other avenues of propaganda that present themselves. I am personally in charge of organising the United Kingdom ‘division’ (Heathen Circle Albion Division: http://www.myspace.com/heathencircleuk) of the Heathen Circle, which exists to better spread the music and ideas of our members in this area of the world. Essentially, the Heathen Circle is there to help people hear the message of our bands and artists more concisely, and then help them find other paths and ideas they may wish to explore by informing them of a wide range of pagan-related ideologues. For bands and artists, it hopefully spreads their music to a wider audience and allows their message to be heard. All members of the Heathen Circle work towards the same goal as expressed in the ‘Statement’ on the website.  

HH:  Do National Socialist ideals infiltrate your music?

WH:  Certainly to some degree. I see National Socialism as the only feasible solution to the problems that we, as a race, face today. The ideals and morals expressed go hand in hand with those of the pagan belief system when treated correctly. Through paganism, the folk are more likely to have the warrior spirit awaken within themselves, feel connected to their lands of origin (not in a blindly patriotic way), and in turn, this should lead to the uprising that will be the last hope of saving our race and traditions. Of course, this is a very basic explanation of the relationship between National Socialism and paganism! However, very few Adalruna songs are actually about ‘politics’ or ‘National Socialism’ in general; it is mainly propaganda that will hopefully inspire people to do further research themselves and find their own conclusions. For example, most of my music is based around the themes of Norse mythology, sagas and paganism in general; these topics, mixed with the blend of ambient score and black metal should hopefully stir the folk soul and be a part of the reawakening of the listener, which should lead them to the understanding of the divine traits of their race.       

HH:  How far do you take aryan ideals into the music of Adalruna?

WH:  For me, the ‘Aryan ideal’ is expressed best by Wotan as a symbolic archetype. As a God-figure, he is certainly flawed, and in that he combines both the ‘divine’ (absolute perfection) and the ‘beast’ (striving for maintained existence), which essentially makes him just like ‘man’ who has the ability of self-divination, but must also strive for maintained existence in order to achieve it. The other gods of the Norse pantheon can be seen as extensions or exaggerations of certain aspects of Wotan; the most obvious of these would be Loki – he could almost be the Shadow of Wotan. As a whole, they create a perfected being or ‘God’ – the prime archetype, or ‘first man’. I am an extremely conservative person in my worldview, and the moral code that I live by is not often challenged by what I read in the Eddas, and Wotan as an archetype – a self-justifying and self-perfecting figure – is who I strive to become in order to know the secrets of the universe, of ‘God’, and ultimately of myself. I wish to return to the absolute state of the ‘first man’ – the state of Aryan perfection. This cannot be achieved in life, and who can say what lies beyond death? We can only learn from the sacrifices we make along the way as we strive for that perfection; not only personally, but as a race. Eventually we might achieve a state of perceived perfection – the Nietzcheian ‘Superman’ so to speak – but we must certainly strive for its maintained existence against those who wish to see it destroyed and replaced with Semitic beliefs. In helping to spread awareness of the divine nature of the Aryan race, and the sagas of old in my music, I suppose I do express Aryan ideals. I would certainly hope that Wotan guides my hand!  

HH:  Tell us a bit about your stance on politics.  What is your attitude towards the United States?  The current status of the UK?  You don't seem to buy into the same misanthropic ideals that so many other black metal projects become nearly obsessed with.

WH:  Misanthropy is for those who have given up on life, but are too weak to do anything about it, or too ignorant to see the things that are worth fighting for; they should practice what they preach and end their pitiful existences instead of whining about how they hate everybody. It actually saddens me that people cannot take any pride in their heritage at all; they cannot see that there is so much worth fighting to preserve! I do not hate those of my own race or people of any other race unless I have an actual personal issue with them which warrants such hatred. I hate the people who deserve it – those who knowingly fund degenerate music; those in charge of the major media outlets who knowingly socialise the masses into pathetic self-depredated, worthless mounds of flesh that would rather eat fast-food, worship some female-hating rap star and then buy some useless gadget that makes their lives that little bit lazier; and those who refuse to do anything about it – the worst kind of person are those who see the problems, know the solution and yet do nothing. These people include the misanthropes; those who have given up! I believe the situation is by far the worst for the Aryan individual in the United States of America. The country is essentially controlled by its media which continuously broadcasts confused ideologies and simplistic viewpoints based on hegemonising the Zionist control. However, I do believe that any Aryan revival that we see happening today owes a lot to the people in the USA – those few who did, and those who still do stand against the crowd, not simply to appear alternative like some teenager looking for attention, but because they saw the truth of what they must live with everyday. I cannot say much more of the USA, since I have never visited, and my beliefs only come from what I read and see, ironically in the media. The United Kingdom, however, is on its way to becoming exactly the same. The ‘multicultural’ thinking is beyond a joke and ‘political correctness’ serves as nothing more than a way to silence those who practice freedom of speech. Our media gets worse by the day, and the influence of conglomerate, often foreign corporations makes the pathetic government even more of a joke. Of course, with a worldwide marketplace at peoples’ fingertips that caters so much to everybody’s ‘needs’ nowadays, the real world gets more and more left behind. It is a strange time we live in, and the future does not look positive. It seems to many that the biggest threat to the UK and Europe as a whole is that of the Muslim invasion. In 2005 with the terrorist attacks, there was a sudden burst of popularity with right-wing political groups that offered a solution, but unfortunately, everybody failed to act, and now it is made that Muslims get special treatment, with more laws and such on the way. I cannot help but feel this is a planned move in a much larger plan that is designed to end, for us at least, with the total destruction of the Aryan race. The world needs to open its eyes and stop the in-fighting. We are being played against one another!  

HH:  The project Adalruna began fairly recently in 2006 but has enjoyed a number of releases, though many were strictly limited.  Why have you chosen to remain a solo artist since your beginning without the help of others?

WH:  I work at my own speed and with my own ideas. That is really the only reason. I also tend to find other people eventually only serve to let me down. It would certainly benefit me to have worked with other people in the past, because as I am sure anyone can tell, I am not a ‘skilled’ musician when it comes to playing instruments. I have plans to assign guitar duties to another person in the future as it seems like the thing to do. I hope this will work out well, but it will certainly slow me down when it comes to recording and releasing, which is perhaps not a bad thing!

HH:  Have you ever been a part of any other projects, musically, artistically, or visually?

WH:  Obviously some other projects when I was younger, but never anything serious and certainly nothing worth mentioning. At University I study film production, so I will most likely at some point create some kind of visual art that expresses my beliefs. Whether or not this will tie into Adalruna I have no idea, but it is an area that interests me. Other than this I am not an overly ‘creative’ person, unfortunately. I would certainly like to do some writing, both fiction and factual.

HH:  Have you featured any guest musicians on any of your releases?

WH:  From time to time I have. Originally, when Adalruna was finding its feet I used some female vocals, and I actually plan to revisit this on my next album when I get around to recording it. On my last album, ‘A Wolf in Hallowed Places’, I featured a narrator and two guest guitar solos as well as some vocal acting. This will be developed much more on the next release, also.  

HH:  Could you tell us the story behind the Chesterfield folklore that influenced the very limited Cestrefield 1362?

WH:  That album was recorded as a tribute to the history of Chesterfield, the town I grew up in. Unfortunately I have had to move away since, which is a shame. Chesterfield is most famous for its Crooked Spire – essentially a late-medieval church which due to a lack of skilled workers at the time of its construction because of the plague, was built with a lop-sided spire. There were some interesting folk-tales surrounding it, for example, Satan bending the spire and one of the spire itself bending down to look at a newly-wed bride. I always found these quite amusing, so I made my own ‘version’ of events and wrote a short story which I believe is available on my website (http://www.adalruna.co.uk) and later made the album. Of course, the album is quite bad, hence the reason it was so limited! It is available to download from the website, however, for those curious.

HH:  Your one and only split was a limited CD-R (100 copies) on Lokisson Records with Hard Venom, a multi-genre metal project whom seem to be fairly political in nature.  Why did you decide on this project to release your only split with?

WH:  The only reason really is that I knew the guitarist from Hard Venom somewhat and just so happened to have an EPs worth of music ready to release. I am not in any way familiar with Hard Venom’s political stance, but my tracks on that album are all concerned with pagan revivalism in the face of Christian dominance which seemed to fit with their beliefs. I have put my tracks on my website for free download, as I later found out that the person behind Lokisson Records was a drug dealer and user. I do not support that kind of degenerate behaviour and I absolutely refuse to allow my own music to fund it. I felt personally betrayed, and would recommend everyone to avoid that label!

HH:  In July we saw yet another incredibly limited release of 18 copies in "Wer ist der Starke von Oben".  Why did you choose to limit such releases to such limited quantities?

WH:  This release was made simply as a special item for people who have supported Adalruna, and as a tribute to Guido von List. It was not meant to be anything grand, and I think from listening to it that is quite obvious. All of my demos have been limited because I simply could not afford to keep making them beyond the point that they served their purpose, and apart from Cestrefeld 1362, which I requested be limited to 15 copies, it has been up to the respective labels to release as many as they wish. I think people find it more precious to have a limited release, especially with black metal, even when it turns out that limited CD is merely a CD-r with cheap-printed covers! I personally have very little interest in that anymore, although I must admit there was a time I felt the same way. Nowadays I feel that an unlimited release best serves my goals.

HH:  On this release you covered a Skrewdriver track which shows us that you obviously have a bit of RAC influence in your life.  How much of a part does this play in Adalruna?

WH:  Very little, actually. I certainly appreciate it for its ideals, but musically it is not to my tastes. Skrewdriver have some wonderful songs, but I only ever listen to the Saga tribute albums, as they are far easier on my ear-drums. My cover was not only about the love I have for that song, but giving respect where I believe some respect is due, at least ideologically.

HH:  Tell us about the new release that just came out on Darker than Black?  How did you get involved with this label and how does it feel to finally have a large-scale official release under your belt?

WH:  I suppose in many ways ‘A Wolf in Hallowed Places’ is the first official release of Adalruna. It is the first part in what I hope will one day become a complete adaptation of the Norse Volsung Saga. I am hoping that along the way, other like-minded bands will step up and create installations of their own, as I predict it will take over 50 albums to complete at the rate I am adapting the tale - and more if the Saga of Ragnar Lodbrok is included! I think the label first contacted me whilst I was distributing my previous demo, and I decided to sign pretty much on the spot for the next album’s release. It is an absolute honour to work with Darker Than Black, and I could not be more pleased with the release itself. I hope others will be just as pleased.

HH:  What is your opinion on Aryan pagan folk ambient project such as Lord Wind and Invictus?  Do you ever see yourself taking this direction in a new project?

WH:  I am not too familiar with Invictus, but I quite like Lord Wind. I have often tried to create folk/ambient music, but it always evolves into an Adalruna song. I cannot see myself doing a solo project like this on my own, as it would be too similar to what I already do. Besides, I have almost no time for Adalruna anymore, so taking up another project would not be beneficial.

HH:  What does the future hold for Adalruna?

WH:  The next release, which is entirely composed and is called ‘The Apple and the Wish-Maiden Crow’. It will be recorded over the next year in small parts, and I am looking forward to a much improved sound quality and more professional standards of musicianship. This is all I can really say for the future at the minute, except I still have plans to make another music video for a track from ‘A Wolf in Hallowed Places’. Hopefully this will get done this year, but I have to plan it and work the schedule out first with the director, who incidentally also provided the narration on the album.

HH:  Thank you for this interview!  Please feel free to take this last section to say whatever you feel needs saying.

WH:  I would like to encourage all people to buy ‘A Wolf in Hallowed Places’ from http://www.merchant-of-death.biz and if anybody would like to hear more of my own prattling, head to the Heathen Circle Albion Division MySpace site and sign up to the Newsletter, or e-mail me personally at either adalruna@yahoo.co.uk (Adalruna) or wulfhelm@hotmail.co.uk (Heathen Circle UK) Thank youQ


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