We at Indie Top 39 have been huge supporters of Heren Wolf for quite some time now. He recently released an incredible new single called ‘Sun God’ and we fell in love (yet again) straight away! A beautifully cinematic and melancholic tune, ‘Sun God’ is a deeply personal and vulnerable track.
We knew it was finally time to learn more about this talented and unconventional artist, so we were thrilled when he agreed to be interviewed! We’re also extremely excited to announce that Heren will be one of the speakers joining us for three days of awesomeness at our TPOI Virtual Music Conference taking place on the 14th, 15th, and 16th of October.
Talking to us about his experience with the pandemic, his early love for Enya, and why he uses his voice to raise awareness on political and social issues, please welcome… Heren Wolf.
Before we get into the nitty-gritty, could you tell us about your musical journey? What events stand out that brought you to where you are today?
I have always had a passion for singing and music, and back in Italy, I performed in several bands. Initially, however, my dream was to become a dancer, so I spent most of my childhood and teenage years studying ballet and contemporary dance. Unfortunately, after about 10 years, an injury put an end to my dance experience and it was then that I decided that I would focus on music.
I moved to London to study Songwriting. I wrote a lot of songs and started to shape my solo project Heren Wolf which I then officially launched in 2018.
As soon as I arrived in London, I also decided to join the London Contemporary Voices Choir, which inspired me a lot and gifted me with an eclectic community of wonderful artists with whom, over time, I started to collaborate.
It wasn’t until December 2018 though, when I played my very first headlining show at The Old Church in Stoke Newington, that I realised I was on the right path and that music had to be in my life somehow.
You’ve just released an incredible new single called ‘Sun God’ and we’re a little obsessed with it over at Indie Top 39. I know that it’s also a deeply personal track for you. If you’re comfortable of course, could you tell us a bit more?
‘Sun God’ is a self-prophecy that I wove to make the light return and shine through the crevices of my heart, after the death of my father.
heren wolf
It is a song born from the awareness that my rebirth was hatching in the folds of my wounds; that beyond my inner storms, a warm regenerating sun was waiting for me, ready to give me warmth.
‘Sun God’ is a journey into the desert of my traumas, which I have traveled through deprived of everything but comforted by tender rays of sunshine and the certainty that my heart would resurrect, once again.
“A journey into the desert of my traumas.” That’s both a beautiful and a heart-rending description. Was it hard to release it into the world?
It wasn’t. For some reason, I never felt much discomfort in sharing my vulnerabilities with others. I learned very early on that talking about my wounds, through my songs, helped me to soothe them. In sharing my sorrow with others, I realised I wasn’t alone and that grief is the connective tissue that holds people together more than anything else.
Sharing such vulnerable songs also enabled me to contemplate my traumas from above, taking a position from which they could be modulated in some way.
It helped me to understand the meaning of my own grief, teaching me to welcome it as a necessary element of the human experience, to accept life even in its strangest and most mournful episodes, and to find the strength to rejoice in my inexhaustible vitality even after witnessing the destruction of death.
Everyone’s lockdown experience was certainly different and unique, but how did the world shutting down affect you both artistically and mentally?
Coronavirus mostly had a negative impact on my creativity. My relationship with music during the various lockdowns has been particularly conflicted. Music is the medium I resort to in order to alchemise my grief, however, during such a fragile moment, the artistic expression became almost a form of psychological violence. Although I had a strong desire to create and transform the mayhem of emotions into harmony, for a prolonged period of time I felt that I had lost contact with my inner world, that I had run out of ideas or words. So I decided to let go of all expectations, completely abandoning that (sometimes toxic) urge to be productive and creative at all costs. Like the other crises in my life, this situation reminded me of the importance of balance. Between stillness and sound, between expression and contemplation.
I learned that filling every space is not always the best approach, and that stasis is as necessary as movement. I started to shift my perspective and began to view Coronavirus as a creative winter, during which I could regenerate and prepare for the vitality of spring.
On the other hand, writing and music did not abandon me completely and allowed me, in the rare flashes of creativity, to channel my frustration and explore new forms of expression.
There’s something really special about your album cover art. Do you work with any particular designers or artists to create them?
I worked with Laura Hepworth on the artworks for Empire, Far, Joy, and Mother, and then I partnered with one of my best friends Inez Eliassen to work on the cover art for ‘Sun God’. They are both wonderful artists and human beings and it’s been a blast to collaborate with them.
I know that, at least for ‘Sun God,’ you took inspiration from ’80s synth music and Icelandic heavyweights Sigur Rós. Who else would you credit for shaping your overall musical soundscape?
When I was younger I used to listen to a lot of Enya’s music but then somehow forgot about it. One day it all came back to me and I realised how big of an influence it has been on my musical soundscape, with the soothing yet rich vocals, the presence of majestic orchestration, and the cinematic flavor.
The other artists I would credit for shaping my sonic landscape are Florence + The Machine, Of Monsters and Men, and Aurora.
If you were allowed to ‘ steal’ one song and claim it as your own, what would it be and why?
Doomed by Moses Sumney. I just think it’s one of the most beautiful songs ever written. The production is very simple, yet incredibly powerful and the lyrics are imbued with poetry that caresses and disarms you at the same time.
I had the privilege to see Moses perform this song live with the BBC Symphony Orchestra at the Royal Albert Hall and in that moment, after days of feeling particularly insecure about my own project, the ardent desire to connect with others through my music was rekindled.
heren wolf
Your music deals with themes of grief, mental health, and regeneration. I imagine this can get pretty draining and emotional at times. When you’re not creating music, what do you enjoy doing?
Absolutely! It can be tremendously draining at times. There are moments in which I feel I’m not ready to engage with these themes and/or I find myself numb and incapable of delving into the depths of my emotions.
Being part of other artistic projects, reading, socialising, engaging with social issues, or simply relaxing, helps me replenish my energy.
What would success look like for you in the music industry? Do you place any importance on it when creating new music?
Helping to shape an inclusive, empathetic community of people who care about each other is my idea of success. To have an impact on the way things unfold in the world and to contribute the slightest bit to create some positive change would fill me with immense joy.
Apart from your music, you also use your voice to raise awareness on political and social issues. Everything from LGBTQIA+ and migrant rights to transfeminism and racism. Tell us more.
I strongly believe in the revolutionary power of art. Through their works, artists can make those who consume them reflect, generating questions and shedding light on things that are otherwise difficult to observe.
I write songs about LGBTQIA+ rights, migrant rights, transfeminism, racism, etc., in the attempt to raise those questions and to resist any form of odium. To challenge prejudice and discrimination and rebel against those who would rather want us to be divided and hate each other.
The state of the world is devastating which can cause us to feel numb and impotent. However, I am of the opinion that we all have a miraculous power to change things, whatever the medium is, and therefore we must fight to reclaim the empathy that has been stolen from us. To rebel against the anesthesia of humanity that’s been paralysing us for too long. Empathising with the suffering, deepening our love, and resisting the cause of that suffering.
If you had the chance to collaborate with any musician or band, who would you choose and why?
One day I would love to receive an email from Nick Cave or Anhoni saying that they wrote a song for me. Otherwise, I would love to work with Moses Sumney.
What do you hope for in the future? Both musically and personally.
My hope is to not lose hope.
heren wolf
Make sure to connect with Heren Wolf on Facebook » Instagram
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