Danheim is the Nordic Folk and Viking-inspired project of Danish singer/songwriter and producer Reidar Schæfer Olsen, who has been active in electronic and ambient music for over ten years. Olsen draws inspiration from historical and mythological sources, and by incorporating organic elements into his music, he creates an atmosphere of authenticity that spans multiple albums. His work often appears in multimedia projects, including several seasons of the TV show *Vikings*.

For this album, Olsen introduces even more sound elements drawn from the natural world and experiments further with vocal textures to build mood and emotion. Thematically, he explores the idea of a homeward journey and the various expressions it can take in our lives, from struggle to something hoped for on the horizon.

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I corresponded with Reidar Schæfer Olsen for a written interview about *Heimferd*, the role of personal belief systems, the mood and significance of landscapes, and the specific textures found throughout his new album.

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**Q:** I read that some of the ideas behind the album are about “journeying home,” but when I listened to the album, I found that the journeying aspect is as important as the sense of home. It almost feels like home is something we can only reach through obstacles and struggles. Was that part of your thinking with these new songs?

**Reidar Schæfer Olsen:** I’ve always felt that home isn’t something you just arrive at—you have to move through something first. Memory, distance, or perhaps some form of struggle. *Heimferd* isn’t about a perfect return; it’s about what shapes you on the way. Home means something more if you’ve had to long for it or fight your way back to it. So yes, the journey itself is just as important as the destination, or maybe even more.

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**Q:** Can you tell me more about why you chose the cover image of the album? Do you think we are still influenced by older concepts of what home looks and feels like, even if we don’t realize it? I recognized it as a medieval-style wooden hall at first, but after a moment, it reminded me of my mother’s house, a log cabin, for example.

**Olsen:** I chose that image because I have spent some time in the area. It’s a reconstructed old Viking hall in Denmark, so for me, it carries something personal—a memory of old times, warmth, and belonging. I think we’re all influenced by older ideas of home, even if we don’t notice it. It’s not just a building; it’s shelter from the environment, a warm fire, and fond memories. That’s what I wanted the cover to reflect.

It’s indeed very similar to traditional log cabins from many cultures, so I think, as you mentioned, many people will recognize the feeling or memories I am talking about.

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**Q:** I know you are often inspired by mythology and folklore, and I see some of that in this album, but I also notice place names and possibly references to grappling with the elements. Were landscape and the elements part of the mood of this album, too?

**Olsen:** Yes, absolutely. Both landscape and the elements played a big part in this album. I believe land can tell a story without words. I sometimes think back on different seasons and landscapes when I start composing a new song, and that can become the main inspiration for the whole track.

I usually layer many recordings from Denmark, Iceland, Finland, and Norway that fit the mood. These can include exploding geysers, mountain winds, calm streams, or anything in between. This adds a great sense of something more earthly, natural, and simple—something many of us probably long for deep down in our modern world.

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**Q:** I heard about your indie label, Fimbul Records. What were your goals in launching it? Is it still operating?

**Olsen:** Fimbul Records started as a way to help other artists in the Nordic folk genre gain more exposure. It wasn’t focused on signing many artists or becoming a big label, but more like a home for upcoming artists. Unfortunately, I had to close it down because the accounting and management work became overwhelming, especially since I was doing almost all of it myself at the time.

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**Q:** How necessary do you feel it is to investigate older belief systems to navigate modern life? I’ve come across an idea in psychology suggesting we all need to create our own personal mythology by selecting elements from the past that resonate with us, something your music reminds me of.

**Olsen:** I don’t think we all need to follow an old belief system, but I do believe there is value in looking back for inspiration and wisdom. Old beliefs often carried ideas about nature, loyalty, ancestors, and courage—values that remain important.

In a way, yes—I think many of us build our own mythology. We choose symbols, stories, and values that mean something to us. Other parts are often left behind because they no longer resonate. Music is also a way I explore this process.

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**Q:** I understand you typically work in a home studio. What is most essential for you in that environment? Do you use unconventional items to create sound elements for your records, like household objects?

**Olsen:** Working from home is important because I need silence and space to follow my instincts and the ideas I have in the moment. I work best alone with time to explore sounds without external input.

I often record different sounds made with my own rattles, ancient Viking objects (from auctions), wood, bones, and weapons—anything that has character. I like when a sound feels imperfect, old, or distinct. Those textures make the music feel more alive in some way.

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**Q:** This album will be released on vinyl. Did that affect the length you allowed for songs and the selection of tracks for each side? Do you prefer audiences to listen to each “side” as a full musical movement?

**Olsen:** I didn’t focus too much on the technical aspects of the vinyl release during production. But after finishing the album, we discussed the track listing and shaped each side so it stands on its own yet belongs to the whole story.

My label, Season of Mist, has a lot of experience with vinyl releases, so the process and discussions went really well.

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**Q:** With the track “Brenhin Llwyd,” I recognized a Welsh name and wondered if it was a place or story. The percussion that opens sounds metallic and interesting, with central, powerful vocals complementing bass elements. What inspired these distinctive choices?

**Olsen:** “Brenhin Llwyd” means “Grey King” in Welsh and comes from folklore rather than a place. I was drawn to the mood of the figure—something ancient, quiet but powerful, like a spirit tied to the land.

The metallic percussion and heavy bass were intentional to give it weight, like something moving beneath the earth. I wanted the vocals to sound raw, hypnotic, and commanding—not clean or polished.

It’s one of the darker pieces on the album and something new for me, as I usually focus on Nordic mythology.

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**Q:** On the track “Haukadalur,” I noticed place-name references reminding me of some Icelandic locations I visited. The use of water sounds, birds, and clinking metal creates a visceral atmosphere that transports the listener. What inspired these choices?

**Olsen:** Haukadalur is a geothermal valley in Iceland, known for its geysers and raw nature. I wanted the track to feel like standing there, just as I felt the first time I visited—hearing steam, water, wind, and distant birds. It’s a place that feels alive, almost breathing.

The metallic sounds represent tools or remnants—human traces within that wild landscape.

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**Q:** The title track, “Heimferd,” conveys that the journey home is often challenging and filled with the unknown. The music has drama and searching, making home feel like a deep need rather than just a place. How did you convey that longing in the track?

**Olsen:** The title track carries emotions of longing and return, but also the struggle of finding home. I didn’t want it to feel easy or resolved. The rhythm is steady but never fully at rest, embodying endurance alongside struggle.

I used vocals in a distant, echoing way, as if calling across space. The last part of the song is influenced by sounds reported by near-death experiencers, like a rushing noise similar to a train passing by.

In a way, it’s about finding peace after struggles, which reflects life for most of us.

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**Q:** Regarding the video for “Heimferd,” it presents a forbidding yet beautiful landscape and a drama of young people caught in the elements, trying to return home. How did this video come about? What are you happiest with about it?

**Olsen:** We wanted the video to reflect the journey without explaining it too literally. It shows someone caught in nature, facing forces larger than themselves. There’s no dialogue—only movement and uncertainty.

The landscape acts as both judge and guide. What I’m happiest with is the simplicity—it allows viewers to feel the emotion and leaves space for personal interpretations of the journey home.

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**Q:** For the song “Stormdans,” the strings and whispered vocals evoke rising winds and the voices of the past blending with the landscape’s own sound. The video emphasizes the drama of the non-human environment even more. Can you share your inspiration for this piece?

**Olsen:** “Stormdans” is about being in the middle of something uncontrollable—like standing in a storm and embracing it physically.

I used only a few whispers to create a sense of movement, emphasizing nature and the environment rather than individual presence. The vocals feel distant, as if being carried away by the storm, embracing the power of nature.

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**Q:** I see “Yggdrasil II” continues themes from your earlier work. This track is bright and bold, with melodic introductions and rising vocals. You also introduce English lyrics. Placing it at the album’s end feels meaningful. Can you tell me more about this piece?

**Olsen:** I returned to Yggdrasil because the theme never quite ended for me, and I wanted a different sound, especially vocally, compared to the first version, which was recorded simply.

“Yggdrasil II” sounds quite different and ending the album with it was intentional. After all the trials, storms, longing, and searching, there is a sense of arrival or grounding in the presence of the tree of life at the very end.

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*Heimferd* is a compelling exploration of journey, home, and the natural world, enriched by Olsen’s deep connection to history, mythology, and landscape. Through organic sounds and powerful vocals, the album invites listeners to reflect on the meaning of home and the struggles that shape us on the way there.
https://glidemagazine.com/319313/danheim-grapples-with-the-elements-for-the-homeward-journey-of-nordic-folk-and-viking-inspired-heimferd-interview/