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Christopher Juul (HEILUNG) — The future sound of the past — Interview on March 7, 2025 — Transcript

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0:00You are being intentionally put through
0:03a dream state where we try to remove you
0:07from this reality. Put you into a
0:09mindset of the past using the future.
0:15>> I have more outputs on my station than a
0:18full band will have in a normal band.
0:22>> I don't want this show to be about the
0:25people producing the music. I want it to
0:28be for the people that are there and
0:30experiencing it.
0:33>> Hello. Today we are talking to
0:35Christopher Ule from Hilong.
0:37>> And um I wanted this interview to be
0:39more about um yourself. What is your
0:42biography, how you came to be like
0:46>> uh the artist you are and also about the
0:49scient sound of Hilong. So can you can
0:52we just start from how you became a
0:54musician?
0:55So I learned playing an instrument
0:58before I could speak. So at a very young
1:01age. I'm I'm born into a musician family
1:05and a creative family. Um
1:09and I learned playing very early on. I
1:11started playing classical music the most
1:13as a child and also studied that.
1:18Um most of what I do is self-taught. Um
1:23I have also taught um music to others in
1:28various degrees. Um,
1:31I founded Lava Studios in Copenhagen for
1:35a
1:37for a reason. Like very early on we
1:42Denmark at the time was I think very
1:45very in a in in in in their music it was
1:49in a bad state I would say. Right. I'm
1:51not complaining about what the other
1:53people do, but in terms of of um being
1:56connected with your roots and and and
1:59being connected to world music in
2:01general, of folk music, um
2:05at the time it was easier to just look
2:06to Norway or Sweden because they were
2:08way more
2:10connected with their with their heritage
2:13in terms of their music. Uh so I thought
2:15that was sad. So, so I I spent a lot of
2:18time
2:20uh playing and producing music within
2:23this realm uh some years back.
2:27Um
2:29yeah, and a couple of hundred albums
2:31later I'm still doing that. But the the
2:35last the last five six years has been
2:38mainly focused on my own projects.
2:42However, we are
2:44growing also in my production facility
2:47and we are starting to take more clients
2:51in and it's very exciting. Yeah.
2:54>> I know that your father is actually a a
2:56pagan priest or something.
2:59You didn't want to be like as spiritual
3:01as he is or
3:03>> No, I think my dad and I are quite
3:06similar actually in terms of our
3:08worldview and and our look at north
3:13mythology and stuff like that. Um it's
3:17true I am not
3:20I'm not necessarily
3:22I would not identify myself as a
3:25shamanic person at all but uh but I'm
3:28not um
3:30I follow I follow a very old codeex and
3:33a lot of the things and the teachings
3:35from for instance Haramile and other
3:37things I think is very adaptable to to
3:40how you live today and how you rule a
3:43pack and how you treat a person coming
3:45to your doorstep and you know how also
3:49maybe to ask a person to leave or
3:51whatever right be kind also that that is
3:54a thing um and a lot of that there's a
3:58lot of symbolism for that that I have
3:59been taught since early childhood and
4:03and and still carry with me like my
4:05father and I we we have been sailing a
4:08lot in my life we we were sailors and um
4:11I got to see the world quite early on um
4:16um but I think it was always with a very
4:19strong root on on where I come from. Uh
4:23and uh yeah, I'm proud of that.
4:25>> I would say that on stage you are on the
4:28left side. It's rarely you come in
4:30front. But I'd like to stress that your
4:33sound is something that is basically all
4:36the hilong is built on because without
4:39that sound there will be no
4:42uh nothing like no impression. Um
4:47the show the ritual is very important
4:50but it's built on the songs. Mhm.
4:53>> Um so and basically what Halong does is
4:58to
5:00produces music uh based on ancient uh
5:05scriptures and like inscriptions and so
5:08on and probably some ancient sources
5:11about music. what it takes to take those
5:15sources and make them
5:19uh sound
5:21so immersive to current audience. What
5:23what job you have to do like when you
5:26have just your sources?
5:29>> U you're absolutely right. Um that um I
5:33don't put myself in in very much focus.
5:36Let's start there. Uh I do this for a
5:39reason. um like like I'm like on on the
5:43side of the stage in darkness painted
5:45black and and in a black clothes, you
5:47know, so I'm kind of, you know,
5:50um invisible, I guess, as much as
5:52possible. I don't do this because I
5:54don't want to interact with audience
5:55that I also do interact when I can, but
5:58but I don't want um I don't want the
6:01show to be about the people, right? It
6:06might sound weird because folk music is
6:08music for the people, but I don't want
6:10it to be about the people producing the
6:13music for the people. I want it to be
6:16for the people that are there and
6:18experiencing it. And um and it's a
6:21collection of things. So yeah, I I do I
6:25do make all the music in Hilong, right?
6:27That is my my part of the thing to
6:31compose the music. And it's also me that
6:35produces this albums and mix and master
6:38and everything. And I also band lead
6:40Hilong. So, so I'm also like on on in
6:45terms of like getting Hilong on the road
6:48and lead the people here. That is my
6:50job. And and that takes a lot of time
6:53and energy of course. And it's it's a
6:55it's a big machine that of course cannot
6:57do on my own. and I have have several
7:00very good people helping. Um, Hilong is
7:04not like built on the songs and then we
7:08add another thing on top of it and stuff
7:10like that. Hilong is a collection of
7:13many different elements, right? So in
7:15the core for instance, we have three
7:18people creating Hilum, right? And that
7:20that usually comes from from source
7:23material from Kai. And then I I create a
7:27an art piece around that
7:30audiovisisually.
7:31And I also help with
7:35when we do artwork. For instance, Kai
7:37comes with drawings and then I lay out
7:39them and I put them into a visual
7:43context. Um, and that those things those
7:47when we make our releases in in the in
7:51the in a studio setting, right? Of
7:53course, Maria comes with her wonderful
7:55melodies also. But when we take these
7:57things from the studio and we put them
7:59into a live context, then you know it
8:03automatically goes into different
8:05departments that we have created
8:07ourselves. So in a way we call Hilong
8:10live like a theater for gods. And what
8:12we mean about it is we have
8:15the construction of a of a live
8:17performance is like a theater production
8:20right but it's not for you know as in a
8:24normal theater what we do is not acting
8:26we we we are us on stage in a version of
8:30ourselves that that follow uh what is
8:34inside of us but it needs structure when
8:36you have so many people so for instance
8:38Kai's drawings goes into the visual
8:40department and We make go with the
8:43light. We uh we we design everything in
8:46a previous room before we even go live.
8:49So we have like good people working at
8:52so we can visualize how we want it to
8:54look and how we want it to feel because
8:57like in our releases and our books, you
9:00know, our artwork and our visual side
9:03goes hand inhand with our audio side. So
9:06so they follow each other. uh and that
9:08has to be a red thread from when we do
9:13uh our releases until it hits your ear
9:16and eyes at a live performance. So that
9:18has to feel and be the same and it is
9:20the same. It's the same file even at
9:22times. Then there is of course the music
9:26side of things. So Hilong in the studio
9:29has no rules in terms on how we make
9:32music. Some things is performable, some
9:36things would be impossible to perform.
9:39Um, and that's okay. Uh, we have made
9:43several albums. So, so some stuff will
9:45work, some stuff won't. But for our um
9:50for our our music and our our sounds
9:57we we we still bring those modified
10:00nature sounds and then we sing to that
10:02live right and that creates a new
10:05universe. So, so for instance, what
10:08Hilong is for three people in a studio
10:10setting, we do on later albums, of
10:13course, invite some of our people in,
10:15but it's grander when we perform it
10:17live, right? Because we can have more
10:19colors, more input from different
10:21people, but they are following the
10:24compositions we are making, right? But
10:26making it their own. And I believe that
10:29is the energy that is important, not
10:30that someone wrote that music that
10:34they're playing. That is of course nice
10:36and that is needed in a in an orchestral
10:38context, right? But it's the
10:40collectivity of the whole piece and the
10:44all the energy that is done for for the
10:47whole thing that is important. And and
10:50if you look at a stage performance
10:51specifically like here we are 30 50
10:54people on the road, right? and the guy
10:57that hangs in the morning up in the rick
11:00putting up our new brand new speakers
11:02and stuff like that. It's much a part to
11:05do that. It's a wonderful evening as the
11:07composer of the music, right? It's a
11:09collective thing and we have handpicked
11:12every single one that is here and
11:15everything that is here is handpicked by
11:17us including the the the stage, the
11:20speakers, the light, everything is
11:22something we bring so we can ensure that
11:26the output we intend to give you in the
11:29audience and the pictures you can then
11:31build in yourself seeing this
11:33performance is you know there's there's
11:36an idea behind everything. Maybe I just
11:38ask like what is
11:41on your console when you play live on uh
11:45stage?
11:46>> What I play with?
11:47>> Yeah. Is it some
11:48>> Oh, that's a lot of things. Uh
11:52um
11:54there's a lot of machines and and and
11:56loopers and stuff like that, but they
11:58they're meant they're meant to to you
12:02know, we're not here to cheat. We what
12:03we're doing is we are
12:07we are amplifying real sounds basically
12:09right of course we can't bring a
12:12waterfall with us on stage which is a
12:14sound we maybe use for a background
12:16thing that we can morph into tones and
12:18stuff like that uh so some things has to
12:21become in the beginning I was actually
12:24doing a lot more of what we do on the
12:27album in terms of you know performing it
12:30right and the only way at the time and
12:33probably also now is to use a laptop,
12:36right? But I I thought it was a bit
12:39distracting to have that big screen
12:41there. Uh and I mean not I mean I didn't
12:46don't think it's important for the live
12:48feeling that a specific filter is
12:50applied to a a nature sound. I mean that
12:54that filter can also just be applied as
12:56it is, right? It doesn't change the life
12:58energy. And actually by having the
13:01laptop removed and put into a more like
13:05more simple sound player, you know, it
13:08freed more time to to to do more real
13:13stuff, singing and playing and looping
13:16and and and all those things, right? Um,
13:20so yeah, our setup is also quite crazy
13:24because it's actually built to maintain
13:27an immersive show also. So I have like I
13:30have more outputs on my station than an
13:33a full band would have in a normal band,
13:35right? uh and that is because we are
13:38very much both in my studio and also
13:41live when one possible working in
13:44immersive music and immersive audio and
13:48uh and and that means sound all the way
13:50around you right so that's another realm
13:52where we can grasp the hand of of the
13:55audience
13:56>> so I recall that you made like one
13:58concert with immersive sound so far
14:00right
14:00>> we did we did one
14:04um
14:05at Rosskiller Festival which was a in in
14:09collaboration with Maya sound and uh
14:12also with Midas. We used their heritage
14:17system. Um
14:19and and yeah and the rescuer of course
14:21and that was that was difficult right
14:23because sound travel with the speed of
14:26sound and
14:28that can be difficult right because that
14:30can be mean when you play for 20,000
14:33people or whatever you know the the
14:34sound is delayed with up to two or three
14:37seconds you know so that means you can't
14:39just put a drummer in there because his
14:43beat would actually be seconds late
14:45which is a lot in music right so it was
14:47also about figuring out what is an like
14:50inventing the wheel again, right? Like
14:52back in in the day when when when
14:56Beatles went to stereo for instance,
14:58right? I like to use this anecdote. I
14:59also do that often when when I talk
15:01about immersive and that is, you know,
15:03at the time, you know, you went from
15:05mono to stereo. So, yeah. Well, let's
15:07just put the guitar and the drums in one
15:09and the singer and the bass in the other
15:11speaker, right? And if you lose a cable,
15:14you know, then you only hear half of the
15:16band, right?
15:17>> But that I guess that was an attempt at
15:19the time to do a sort of immersive
15:21experience, right? And then Quadron came
15:23around with the Pink Floyd live and all
15:25these things. Um,
15:28but what we're trying here is is very
15:31different from when you're sitting at
15:32home with your home surround sound or in
15:35your headphones where I believe
15:37immersive will be uh the most used in
15:40the future. Um because sound travel with
15:44the speed of sound. That is very
15:46important because the further away you
15:48are from the sound carry it doesn't
15:49matter how big the speaker is. Further
15:52away you are from the speaker you know
15:54the longer time it's going to take for
15:56the sound to hit you. Right? So that's
15:58okay for one person. If you're one
16:00person standing in an arena, sure the
16:02sound can hit you from different areas
16:04and we can time it. Right? But if you're
16:0620,000 people standing in 20,000
16:08different places, you will have 20,000
16:10different ways of hearing where the
16:12sound is coming from. And the further
16:14away you get from one particular
16:16speaker, let's say there's 12 around you
16:18or whatever, then of course, you know,
16:22it will be very difficult. So, so that
16:24very naturally put a limit on how you
16:28can actually do immersive sound live.
16:30And and what we discovered was that
16:32unless you like make little boxes of
16:35sound in the audience and you go with
16:37the whole thing, you cannot like put the
16:40guitarist or whatever. We don't have
16:41that in Hilong, but if we had one or
16:43whatever flute player behind you in,
16:46let's say, in the speaker behind all the
16:48audience, that wouldn't fit rhythmically
16:50with the rest of the band. But also, you
16:52don't really want to look at a at a
16:54flute player up there and hear him here,
16:56right? So, so what we figure out is that
17:00the sound still comes from a from where
17:03you see it, right? Um,
17:06and then what we can do then is that we
17:09can change the room. We can make the
17:11room be a different room with this
17:15sound. We can we can have reflections
17:17happening out in the speakers because
17:19that is natural. We are used to being in
17:21a big space and then of course we hear
17:24reflections delayed. that there is
17:26usually we can also of course put nature
17:29sounds around us and that is where where
17:31Hilong really fits well in right because
17:33what we try to do is actually create a
17:36sound bubble and a room for you where
17:38you can come in and you can be changed
17:40right and sound is part of that. So, so
17:43in that way, immersive sound is very
17:46tempting for us, but of course in a
17:49release format when we make albums and
17:51stuff like that. I can tell I have a
17:53quite impressive u immersive sound setup
17:57now in my studio and it's something
17:59we're investing a lot into to to make
18:01because we can see that generally the
18:04world is moving that way. But it is a
18:05different form when you have it in an
18:08album because you can have the sound
18:10close and we can we can put way more
18:13things around you than we can do in a
18:15live setting because the sound is here
18:17or maybe in your living room but that is
18:19that is not too big to to that you will
18:22hear any significant delay from the
18:26music.
18:28>> I wonder are there any other bands that
18:31try to do immersive sound or you are the
18:33first?
18:34>> Yeah. So we definitely the first to try
18:36it at this scale in this way at least at
18:39that festival. Uh to my knowledge that
18:41was the first time there is immersive
18:44sound already out in the open like like
18:47Las Vegas has this enormous dome thing
18:50but there they have the speakers near
18:51everyone like I think they have like
18:5317,000 speakers or something like that.
18:55So it's a different layout right? Um I
18:58know also we have played ourselves in in
19:01many venues. You see it in classical
19:02venues for instance where they use
19:04speakers to alter the acoustics of a
19:07room so that it can maybe cancelled out
19:09some frequencies so that a room that is
19:12normally very loud and used to to
19:14amplify classical music can be toned
19:17down with speakers to work for a rock
19:19band or or more things. So that's
19:21different settings they can do inhouse.
19:23Kind of the same technology I guess you
19:25have in noise cancellation in your ears
19:27and stuff like that. So we have tried
19:28that but what what we attempted at doing
19:32together with my sound at Rosskilo
19:34festival was more way more a like like a
19:37big setup right like where you have the
19:40speakers around the audience right which
19:42is
19:44a a bit more like like scaling your home
19:48sty surround sound up in an insane size
19:51right and to my to my knowledge that was
19:53the first time
19:55uh and and we learned quite a
19:58doing that uh in terms of how
20:03what you can actually do and also most
20:05important what can you not do right and
20:07and I think you know we are still at
20:09baby steps here because it took us a
20:12year or something to prepare at least
20:15right and uh I don't think everyone has
20:17the money for it or or the time for it
20:20and and also not every festival will be
20:22open for it there's this thing with
20:24immersive sound that is right now it
20:26will limit the area where the audience
20:29is right so the audience becomes smaller
20:32but the PA is becoming six times more
20:35expensive right so so that is numbers
20:38people don't like in the entertainment
20:39industry I can tell you but Roskill
20:41Festival they're great people and
20:43they're crazy so they just went for it
20:45but yeah leading up to that we had a
20:48peer group with Danish artists that done
20:50similar things in a smaller scale and um
20:54um there was uh John Connor
20:57uh that that we had a lot of talks with
20:59which was doing some stuff at um
21:04at Vega uh and but that was in a small
21:07venue um I don't know how to a couple of
21:10hundred capacity right and and I think
21:15they did an amazing job putting up this
21:18all these electronic sounds everywhere
21:20and they're they're very innovative
21:22people uh doing this but I don't I think
21:26you know I don't think even there it
21:29worked there for for a smaller venue and
21:31I also think immersive will work better
21:33there but like putting those sounds
21:36direct into a let's say a setup at
21:39Roskiller festival there would be too
21:41much delay to to to put it like that.
21:44So, so, so there there's a difference in
21:47it's very much more oriented towards
21:50what kind of venue you are at. Uh, and
21:52and yeah, a lot of things has to
21:55function with that both musically but
21:58certainly also technically.
22:01Yeah, this is actually quite fantastic
22:03because uh how long everybody perceives
22:06them as something that uh is about
22:10history about something that was like
22:1340,000 years ago some bronze age and
22:15what not and now we are talking
22:17basically cutting edge innovation that
22:20>> these two things can meet each other
22:22right because you know like like Hilong
22:25is in its production the highest tech
22:29you can get like on on stage. We always
22:31have we have the newest inear, we have
22:33the newest mixers, we have the newest
22:35light consoles, the to have the newest
22:38version of the acoustic PA today and
22:40everything is new new new, right? But
22:42it's there for a reason. It's not only
22:44just to be, you know, oh, we we play on
22:47all the fancy things. Of course, we do
22:48that, too. But you actually want
22:50technology to be invincible at one
22:52point, right? The the time where you
22:54start thinking about a speaker or a
22:56specific light, right? That's where
22:59you've been putting away from the
23:00immersion, right? So, you need this very
23:02high quality gear so you don't hear a
23:07bang when they change the microphone or
23:09you don't see a faulty lamp or something
23:12weird happens, right? That takes you out
23:14of the bubble because the art of Hilong
23:16and and our context and where we come
23:18from is of course ancient, right? and
23:21and and amplifying this and put it into
23:24a reality where you want people to feel
23:27something specific, right? You cannot
23:30have technology in the way. Technology
23:34has to carry it and and be invisible
23:36while doing so. Then you then technology
23:38did a job. Kind of like the composer
23:40also, right? You don't want to think,
23:42wow, they really composed this song
23:45fantastic in in in this particular way.
23:47Of course, I'm happy when people do
23:49that. But during the actual experience
23:52of of of a life ritual as we do, I want
23:56people to feel immersed. I want people
23:59to be healed. I want people to get their
24:02visions. I want them to to come out on
24:05the other side changed, right? And and
24:08there that is way more difficult than
24:10just, oh, look at my brilliant guitar
24:12solo something, right? or or whatever
24:14solo instrument you want to play because
24:17then it takes it out of the focus of the
24:19unity in the whole thing, right? So,
24:21Hilong is written, produced and also on
24:24a technical level put in a space where
24:29it can both be very, you know, present
24:33whatever we wish to present to you,
24:35whether that is light, sound, whatever,
24:36or a combination of the two. but can
24:38also be invisible in the way that you
24:43are being intentionally put through a
24:46dream state where we try to remove you
24:50from this reality. Put you into a
24:53mindset of the past using the future
24:58and hopefully when those combine and you
25:01come out on the other side you will feel
25:04healed and different. I think the world
25:07would be a better place if we could
25:10focus less on the individual and rather
25:13focus on what we can achieve together.
25:16Right? And history tells us over and
25:19over and over again whenever we fail
25:23this statement,
25:25right? That's where it starts to go to
25:27basically, right? And and that's
25:31why it's very important and I know I
25:34have this backing from all my core
25:36members. It's not about the individual
25:38in Hyo like like the two lead singers
25:42wear masks.
25:44You don't see who they are. We the main
25:47composer dude producer whatever
25:50he stands in black in the shadow right
25:54it's not about the individual here it's
25:57about the tribe and the when you are at
26:00a ritual with us in the audience right
26:03we were actually thinking when we were
26:05planning the first rituals that we
26:07should do it with the audience but we
26:10also very quickly learned that that it
26:13would be too messy and and the danger of
26:16of personal or or or
26:19equipment and stuff like that could be
26:21damaged simply because it gets quite
26:23wild at the end and then you have sharp
26:25spears and stuff like that. We needed to
26:27have a barrier in a way but then we of
26:30course get the warriors down and dance
26:33with people. So there is the touch,
26:34right? Because Highland ritual is is as
26:37for those that don't know it, it is both
26:38sound and it's visuals, but it's also
26:42smell in terms of the the the incense
26:45and it's touch in terms of the warriors
26:48dancing together with with the audience,
26:50right? And and why this is important is
26:53because half of the concert is produced
26:56inside at least, maybe more, but half of
26:59it at least is produced inside the
27:01spectator, right?
27:03Like like anything you do in life,
27:05everything you do as an individual, you
27:08record life through your ears and your
27:10eyes. And that is your measurement
27:13system where you take in and your brain
27:15will then interpret. That is true if you
27:19are a scientist, a religious, a
27:21spiritual, if you are astral traveling
27:24somewhere, you are still experiencing it
27:27through your brain.
27:30And when you come to a hilong show, you
27:34are experiencing something through that
27:36canal also.
27:38So what you are hearing for instance
27:41just think about this one thing when you
27:44hear a high song or any song any band
27:46right and you are walking at home right
27:49try to do yourself this little mind
27:51trick okay take pick any song you know
27:54right and then listen to the song in
27:58your head while while while maybe you
28:00hum it inside of yourself right then
28:03change the lyric of the person singing
28:05in your head it will still be the same
28:07voice you here. It might sound like
28:09Maria's voice singing, but you can
28:11change her lyrics. How can you do that
28:14if that is us putting it there? Because
28:17of course we we we had an input to your
28:21human converter that put music inside of
28:23you. But the things that is inside of
28:25you after that sounding exactly like the
28:28one you remember from when you saw it on
28:30YouTube or whatever a live show, it's
28:33you. It's you singing with the voice of
28:36Maria and the drums of Nick and Jacob
28:39and whatever and shouting like the
28:41warriors inside of your mind. It's your
28:43mind capturing it, but it's you doing it
28:46and you can change it. And and that's
28:49why the show when you experience it
28:52live, the way you hear it and you
28:54interpret it live is you. So the show is
28:57made by you. We only give you the first
29:00hint, but you are making the music.
29:05We are very lucky in H High, right? We
29:10we get to work every day on on the
29:14greatest machines, the greatest
29:16equipment with the deepest people, local
29:20people, tribal people, our own people.
29:24Um, but I can tell you everyone working
29:27also to make these
29:30fancy studio equipment and and life
29:32equipment and the light and the people
29:34behind that, they have so much heart
29:36with them making this equipment. The
29:39best thing they know is to see how an
29:42artist takes their stuff and makes
29:45something great, right? That's what they
29:46want, right? And and that is uh
29:51that is very often forget forgotten. I
29:55think you know that there is an art in
29:57everything you do. I believe there's an
30:00art in how you make these machines and
30:04these lamps and and and and and audio
30:09processors. There's an art in how you
30:11manage a venue. There's a art in how you
30:14produce a tour and how you safely put
30:18people through a tour and without people
30:22being sick, without getting stressed,
30:25without people feeling that they're not
30:27appreciated, right? Both within the
30:30group but also outside. There's a
30:32there's a art form in booking shows,
30:36right? There's a whole world of people
30:38that that meets each other regularly all
30:40over the planet, right? that our booking
30:43department will meet and and and they
30:46come with a good heart, right? And and
30:49understand and all our promoters and
30:51everyone working with it, they all
30:53understand what we are trying to achieve
30:55and they are part of our family, right?
30:57So, it's a very big network of very very
31:01good people that do the best they can to
31:05to to make this piece of art real for
31:08you, right? Um, and I think people
31:13should do themselves a favor once in a
31:15while just to stand up and consider the
31:17joint effort it is for them to remember
31:21that moment, right? Not about the
31:23individual necessary, but just how
31:25magnificent it is that so many different
31:27people can come together and they can
31:30make it work, right? That could be a
31:32blueprint for other things, right?
31:34because it's people's different energies
31:38and different specialtities and knowhow.
31:42If we can get over the idea that we
31:44don't have to be equal, but we can be of
31:46equal value, right? And if we can learn
31:50from that, sure this person knows
31:52something completely different like like
31:54imagine a small village or something.
31:56This person can know something
31:57completely different than me, right? But
32:00I don't need to force that person to be
32:02who I am. Right? But together we are
32:06more. That's our species. That's our
32:09tradition. And we can take this and
32:12everything can be greater and grander if
32:15we have that respect for each other. And
32:18Hilong I think is a good example on that
32:20because we have
32:2316 plus nationalities now in all age
32:26groups all different types of beliefs
32:29all different worlds even we're not some
32:32of us is not even on the same plane at
32:34this point right and we have people down
32:37like that that know everything in their
32:39field but there's not a person in this
32:42group in anywhere whether that is in the
32:45booking the record label the the live
32:49crew, the our performers, our core,
32:52anyone. There's no one that do not have
32:55the biggest respect for everyone else
32:58that works on this and that is what I
33:01believe makes Hilong so immersive.
33:04>> Thank you so much for today. Um I wish
33:07you a great tour ahead. Thank you for
33:10your time.
33:10>> Thank you.
33:16[Music]

About this transcript

This page contains the full transcript of Christopher Juul (HEILUNG) — The future sound of the past — Interview on March 7, 2025 by WeAreFolk, generated from the public captions YouTube serves with the video. The transcript has 5,271 words across 736 segments, with the original timestamps preserved so you can click any line to jump to that moment in the embedded player.

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