If you talk to a lot of people, today, they'll have you believe that they were in on the ground floor of the Norwegian black metal scene. Seriously. Worse yet, half the people are my age or even younger, yet they'll swear up and down that they were into it from day one. Truth be told, most of the people that were even old enough to be around at this point were probably wearing their mother's make-up and listening to The Cure or some sort of glam rock, when Deathcrush was released. The vast majority only ever heard about the Norwegian Bback metal scene after it was, more or less, dead. Maybe they read about the church burnings and the murders. More likely, they read about it online or in "Lords of Chaos". People carry on heated discussions regarding the relationship between Euronymous and Varg, as if they knew the people, personally. Sadly, most of these people are in it for the hype and nothing more. Very few actually bother to listen to the music and even less have a true understanding of it.

I was not "waiting at the local record store" the day that A Blaze in the Northern Sky or Diabolical Fullmoon Mysticism came out. I was mostly listening to thrash metal and the most evil thing I had discovered, by the time churches were being burned across Norway, was Slayer's Hell Awaits. However, as it concerns Burzum, I think I had an advantage. While I wasn't listening to these albums as they came out, I still managed to make the same progression as those that came before me. Unlike kids who, today, hear a million different "extreme metal" bands and then can't understand why bands like Venom and Bathory are so important, I was exposed to everything in the proper chronological order. I first heard Black Sabbath before I could even walk. I listened to various rock and metal bands, during the 80s and early 90s. I then ran across bands like Slayer, Venom and Hellhammer. This was my introduction to black metal, and darker music in general. Luckily, for me, I started at the beginning. So, by the time I heard bands like Mayhem, Darkthrone and Burzum, I had a decent background in the same old bands that had inspired them. Despite this, nothing could prepare for the experience of hearing Burzum, for the first time.

One gloomy and depressing night, many years ago, my best friend came by to visit me. I'm not sure how or where he'd acquired it, but he had a CD that included various bands. I can't really recall most of the other songs that were on there, but one song commanded my attention. This was "Black Spell of Destruction" from Burzum's self-titled debut. This was prior to finding Transilvanian Hunger on cassette, so "Over Fjell og Gjennom Torner" was still the only Norwegian black metal that I had, at the time. The haunting, depressing melodies suited my mood at the time, perfectly. Then, I heard the vocals. Not even the tormented shrieks from "Triumph of Death" could prepare me for this. I'd never heard anything like it. The tortured screams, filled with despair, spoke to me on some deep level that I was not even able to fully understand. I couldn't even decipher what was being said, but I knew what it meant, without a doubt. As the song neared its conclusion, the mournful wails and somber melodies obsessed my mind and through those terrible screams I could feel the misery and hatred in my own black heart being expressed. I wasn't just listening to the music, I was experiencing it. I knew that I must own this album. It took a couple years to locate, but it was well worth the wait. Though it was recorded and released in the Winter months of 1992, the first Burzum album was far ahead of its time.

"Feeble Screams From Forests Unknown" begins the album with fury and speed, and is one of the most straightforward black metal songs on the album. Few of the riffs are repeated and the song kind of gives the feeling of traveling slowly down a dark path in the dead of night. After beginning with very fast tremolo-picked riffs and blastbeats, it then slows down, and as it progresses, it descends deeper and deeper into the abyss of despair. As the song slows down and nothing is left but the guitar and the tortured screams of Count Grishnackh, it sends chills through my body. However, then the song speeds back up and the hatred bursts forth. It is quite appropriate that the first four songs are "Side Hate". This song is indeed, fucking cold. So to speak, of course. The song then settles down a bit as a melancholic riff carries it to its conclusion. That was no mere song, it was like a journey, and it was only the beginning.

Next is "Ea, Lord of the Depths". This song begins with a drum beat that remains consistent throughout much of the song. Count Grishnackh handles all of the instruments in Burzum, and is quite a competent musician. Many other one-man bands, that draw a lot of inspiration from Burzum, usually display their shortcomings with one or more instruments or resort to using some sort of drum programming. Not the morbid Count. He wrote and recorded everything, perfectly, without even the benefit of being able to rehearse the songs or hear them in the entirety until after he was finished. He simply knew what they were supposed to sound like, in his head, and made it happen. As for the music, the second song features the aforementioned double bass at the beginning, and a very dark guitar melody that weaves through your subconscious and corrupts your very soul. Again, the vocals are filled with hate and winter and add greatly to the atmosphere. Many have tried to imitate this style and have failed, miserably. As the song progresses, the riffs are repeated and there is a short solo, near the end.

Next is "Black Spell of Destruction", my favorite song on the album. This one is slow and ominous. The melodies are filled with mourning and the vocals convey an unrelenting despair. This is one of the darkest and most depressing songs ever recorded. This is like a journey through the blackened depths of the human mind. Here, there is no hope... no peace. There is only anguish and misery. The walls are closing in and it becomes more and more difficult to breathe. The tormented screams mirror those within your own heart. Everything comes to a stop, as there is nothing left but a mournful guitar melody and the most agonizing screams imaginable. You feel claustrophobic within your own skin and yearn to be released. The haunting melody urges you to seek death, to seek release. The screaming continues, and yet you realize that you are screaming as well, within your mind. There is nothing but despair. You must escape the bonds of human flesh...

"Channeling the Power of Souls Into A New God" is a brief ambient piece that serves to continue the journey. The tone is a somber one, and it feels as if your spirit is wandering, aimlessly, through space and time. This allows you to breathe once more before the coming battle.

"War" is pure Bathory worship. This song serves to reinvigorate the listener and bring them to life once more. The song is short, simple and filled with energy. There is also a decent solo, by Euronymous, near the end.

"The Crying Orc" is a brief instrumental piece, consisting of only a sorrowful guitar melody that fades in, depresses and then fades back into oblivion. It does well to calm the listener down after the bloodlust of the previous song.

"Side Winter" continues with "A Lost Forgotten Sad Spirit". Having first heard the re-recorded version from the Aske EP, this is a bit difficult to digest. My favorite parts of the song are the slower sections, yet the original has a faster pace and the atmosphere is not the same. It does slow down, after about seven minutes, to the familiar pattern of a slow and melancholic crawl. However, this does not quite make up for what is missing from the first half of the song and I am very glad that the Count re-recorded this as the second version is darker and does a better job of conveying the cold, mournful feeling that he was going for.

"My Journey To the Stars" is next. This, along with “Spell of Destruction”, contends for the position of “best song on the album”. The song starts off with tremolo-picked tri-tone notes, before flowing into the higher range of the guitar, and going into a fast drum beat. This creates a sense of doom and tension. This all takes over a minute to build up, and by leaving nothing out, it is the perfect build-up to a song of such an epic nature. As the drums come in, you prepare to go beyond the mortal realm, into the nightsky. This is one of the fastest tracks on the album, and very lengthy, clocking in at just over 8 minutes. The guitar tracks are harmonized very well, and this song contains the greatest riff ever written, at 4:53. There are several tempo changes, allowing tiny bits of hope to creep in, only to be trampled by overwhelming grief. The song slows down toward the end however, and contains another part of only guitar and vocals. This creates a bitter cold atmosphere and the anguished vocals prepare you for your ultimate demise. As the dark ritual nears completion, there is but one thing left to do.

"Dungeons of Darkness" ends the album in an obscure and sinister manner. This is another ambient piece, and serves as the soundtrack to your final breath...

(7 Sept. 2008)

 

Aske was released in March 1993, on Deathlike Silence Productions. It was recorded in August 1992, at Grieghallen Studios and produced by Count Grishnackh and Pytten. Aske is unique in that it features a session member. Samoth, of Emperor, plays bass on this E.P. This was around the time that the Count was considering putting together a full lineup and playing live. Despite being the second official Burzum release, this E.P. was recorded after Det Som Engang Var, which was intended to be released first. The cover features a photo of the ruins of the Fantoftkirke, a church burned in 1992 by Count Grishnackh.

The E.P. begins with "Stemmen Fra Tårnet", which fades in and immediately seizes you by the throat. The tempo is sort of a mid-paced gallop, and the terrible shrieks rip right into your soul. This song seems to appeal to the imagination, and evokes images of a landscape befitting a Tolkien novel. While maintaining a dark atmosphere, this is probably the most uptempo Burzum song ever recorded. The title translates to "Voice From the Tower" and the lyrics could be interpreted as somewhat optimistic. Certainly an escape from reality and the confines of this world. Sadly, the song cuts off, abruptly, and the dream dissipates into nothingness.

The very somber "Dominus Sathanas" is next. This is a very dark and atmospheric instrumental track, though it does include one extremely soul-shattering scream. This song was recorded in April 1992, around the same time as Det Som Engang Var, and would not be out of place on that album. It drags the listener back into the abyss visited on the debut L.P.

The E.P. concludes with a re-recorded version of "A Lost Forgotten Sad Spirit". Apparently, the Count was not satisfied with the way that it turned out, the first time around. This version is slower (and longer) and I think that helps the atmosphere greatly. It is during these moments that the melodies lull you into a trance and your mind is most open to the magic within the songs.

This song features more straightforward black metal riffing and cold, hateful vocals. After a couple minutes of this, the song slows way down and the mournful atmosphere returns. This is the longest song on the album and is quite entrancing. This song has a very calming effect. You know that death is near, yet you have come to grips with this fact. No longer consumed with hatred for the world or for life, you simply await the end. As the riffs chill your skin, you know that soon you will be free of this prison of flesh. You begin to think about how peaceful everything will be once the end comes. Yet it is taking too long. You become impatient. The song speeds up once more and you unleash the last bit of hatred and energy as you slash at your veins, moving closer to the abyss. The song slows down to a crawl. Count Grishnackh's miserable shrieks fill your soul with a longing for the end. Plagued with memories of suffering and despair, you yearn to be free. His screams continue and they speak to you on a level beyond human language. The time is ever nearer. The sorrow must be released.

(8 Sept. 2008)

 

Det Som Engang Var was recorded in Grieghallen, in April 1992, not long after the release of the self-titled debut. Like that album, this was produced by Count Grishnackh and Pytten. Its release was delayed until August 1993. Originally intended to be the second official Burzum recording, the Aske E.P. was mistakenly put out before this. It was by this point that the Count had a falling out with owner of DSP, Euronymous, and decided to start his own label, Cymophane Productions. If he could not rely on others, he would take matters into his own hands and see to it that things would be done properly. In interviews from early 1993, Grishnackh expressed his disappointment in the delay of this monumental album and worried that it would be dated and already ripped off countless times before it was ever officially released. He may have been underestimating his own abilities, as this record was far ahead of anything else being done in the black metal scene.

After experiencing the brilliance and power of "Black Spell of Destruction", I scoured the earth for any Burzum album that I could find. While I was unable to locate the first one, I did manage to get my hands on Det Som Engang Var. In between hearing that first song and acquiring this album, I had also recorded the song "Burzum" from "The Haunted Mansion". At this point, I had no real idea of what the trademark Burzum sound was, other than certain riff patterns. The vocals from the self-titled album and Filosofem are quite different, so I didn't know what to expect when the second album arrived in the mail.

The album begins with "Den Onde Kysten", a two and a half minute long intro. This creates a sense of continuity as it seems to pick up from where the first album leaves off, with "Dungeons of Darkness". The atmosphere is that of darkness and dread. The title translates to "The Coast of Evil" and it does give the feeling of being isolated in a sinister place, bereft of light or hope.

As the listener's spirits have been drained with the intro, "Key to the Gate" marches forward, unrelenting and chaotic in its attack. It is quite the shock to your system. The song begins with great speed, then goes into a Thrash riff reminiscent of old Destruction, and alternates back and forth for the early part of the song. But this does not last long. Everything comes to a stop, and nothing is present but the guitars and the tortured and misanthropic shrieks of Count Grishnackh. This is followed by a melodic dirge of droning riffs and some terribly desperate shrieks. He sounds almost as if he is dying, or at least wishing for death. This is sorrowful black metal at its finest. The song then builds up again before unleashing a dark and beautiful guitar solo that penetrates your soul and slowly carries you toward oblivion. Once again, the Count opens an album with a song that is nothing less than perfection.

"En Ring Til Å Herske" is next and it continues from where the previous song left off, being a slow and anguished march through darkened mountain passes and dismal forests, bound in chains and forced along by black Orcs. The plodding pace and eerie clean vocals in the background create an atmosphere of utter desolation and agony. As the song reaches its slowest point, again we are left alone with only the guitar and the sorrowful wails of Count Grishnack. The drums return and the tempo begins building up toward a desperate climax as the miserable screams imbue the listener with a cold and hopeless feeling.

"Lost Wisdom" is another minimalist black metal song, consisting of faster, Thrash sections, and the typical slower parts that Burzum is well known for. The song is more upbeat than the previous two, yet mournful as well. The lyrics are both depressing and misanthropic, without being exactly hateful.

"Han Som Reiste" is a quiet instrumental piece that maintains the atmosphere of sorrow and lamentation. This song seems to truly embody the title of the album, which translates to "What Once Was". Actually, while reading "The Hobbit", I played this song over and over again and it suited the story very well.

"Når Himmelen Klarner" is another instrumental, though being simply a normal song without vocals. The first minute or so consists of nothing but guitars, and it is somewhat reminiscent of "Dominus Sathanas". The title translates to "When the Sky Clears". Like the previous song, this one allows the mind to wander, endlessly. There is a dark beauty here and the harmonies have somewhat of a calming effect.

"Snu Mikrokosmos Tegn" puts an end to the serene atmosphere created by the previous song. This one begins with fast tremolo-picked riffs, blasting drums and every bit of the cold hatred and misanthropic agony that can be conjured by the otherworldly shrieks of Count Grishnackh. There is a definite sense of urgency in the melodies presented. This is one final assault before the end comes. After a few minutes, the pace slows down a bit and the vocals convey the feeling of an agonizing death. Again, the other instruments stop, leaving only the guitar, which uses that melancholic, bleeding, open-arpeggio riffing style pretty much patented by Burzum. Behind the painful screams are some clean vocals that add a lot to the atmosphere. Choosing to use this instead of keyboards adds somewhat of an organic feel to the song. The listener feels as if something has reached inside his chest and is firmly gripping his heart with an icy hand. A sense of desperation builds as you want the pain to end, even if it means that your heart will be ripped right out. You know that relief will come only with death and yet you welcome it. As the song fades, you can see the dark gate before you.

The album ends with a bleak and obscure outro, very similar to the intro and yet giving the feeling that the journey is complete. This is much more complex than the intro, as well, containing many different effects and a melody that seems to recall a world long lost. Then, in the final moments, all recollection of this world is stamped out and gone forever, leaving you empty and alone.

(8 Sept. 2008)

 

 

This was the last Burzum album that I acquired. In a moment of stupidity, I nearly passed it up as I imagined it to be an E.P., since there were only four songs, and I was reluctant to go through the trouble of finding it for so few songs. Thankfully, I had a friend that had a copy and introduced me to the first song on a lengthy car ride, one night. Some time later, when I found myself face to face with this masterpiece in a Swedish record store (Sound Pollution), I did not hesitate to pick it up.

Hvis Lyset Tar Oss was recorded in Grieghallen Studios in September 1992. It is amazing to think of the fact that the first three albums, and an E.P., were all recorded within a span of only eight months, yet so much musical progression takes place. This album was released on Misanthropy Records as the Count was chained in a dark dungeon by this time. He dedicated his creation to Fenriz and Demonaz. The album cover is artwork from Theodor Kittelsen (1857- 1914) called "Fattigmannen" (The Pauper), and it suits the music, being beautiful yet sorrowful.

Hvis Lyset Tar Oss is widely regarded as the moment when Count Grishnackh reached his creative peak. Regarding the guitars, he retains his basic power chord and tremelo style guitar lines that he used on the previous albums. The emphasis is on quality over quantity (a point many black metal bands fail to understand). One of the main reasons this release is so memorable and highly regarded is the fact that the riffs are all brilliant. All of the songs flow seamlessly, and the riffs are repetitive to the point that you can't help but think that the music is simply a gateway into one's own visions and thoughts, and that the music merely acts as a catalyst, presenting possibilities and ideas to the mind.

"Det Som En Gang Var" begins with a lengthy guitar intro that also features some keyboard use. Burzum is unique in that the keyboards actually become another part of the music, rather than dominating the sound or becoming the only means of creating atmosphere. For example, if you were to remove the keyboards from an Emperor album, most of the atmosphere would be lost. However, if the same was done here, very little would change. They are used only to accentuate the atmosphere. Of notice is that the sound is very clear, very cold. As the drums build up and the song really begins, you are taken on a journey through dreams and memories. The title translates to "What Once Was" and, as a very nostalgic person, few things can evoke such a reaction as lamenting that which has gone forever. As the first anguished screams are unleashed, nothing could be more perfect. It is remarkable that such melancholic melodies can be created while maintaining the inherent simplicity and repetition of Burzum's style. This is the most epic song ever recorded by Count Grishnackh and yet, at 14 minutes, it doesn't seem nearly long enough. The atmosphere is stark and despairing. The harmonies chill you to the very bone and circle around you like a blizzard of knives. With each tortured scream, one of the knives pierces your freezing flesh. In mourning for that which was, the beauty that has withered away and passed into the realm of shadow, never to return, the agonized shrieks are a reflection of the darkness within. Hope has died. Halfway through the song is the greatest riff ever captured. It pierces your heart with sorrow and yet is liberating at the same time. As everything gets quiet, there is just the guitar and vocals. The desperation is overwhelming. Then, the song builds back up, in all its epic glory, as the terrible screams wail with pain and misery:

"Det som en gang var"

Yet, the true meaning of the song is finally understood with the final two lines, not just in realizing what they mean but in the manner in which they are conveyed: the anguished screams of a being trapped between life and death.

"Vi døde ikke... Vi har aldri levd"

How does one follow up such an epic masterpiece? The draining experience of being immersed in the first song is sharply contrasted by the "Hvis Lyset Tar Oss", which is one of the most straightforward black metal songs to be found in Burzum's discography. The pace never slows down, yet it is not energizing like a song such as "War". The feeling is hypnotic and trance-inducing. The title translates to "If the Light Takes Us" and the lyrics convey sorrow and hatred for the world or, at least, what it has become.

Much like the previous song, "Inn I Slottet Fra Droemmen" clocks in around the eight minute mark, yet still seems short when compared to the first and last songs. This song continues on in the same style as the title track, yet is infinitely more droning and hypnotic. It is like a long journey through a harsh and desolate landscape of darkened forests, paths covered with jagged rocks and obscured by mist. The title translates to "Into the Castle of Dreams" and one is hardly given the chance to breath, until about halfway through. The structuring of the album is truly brilliant as it seems designed to create the most intense experience possible. Halfway through, the song slows down and the tension is finally released with the anguished screams of Count Grishnackh. This is definitely one of the most memorable moments on the album. The whole tone of the song changes as the journey of life comes to an end and one enters the castle of dreams.

The 14 minute long ambient piece "Tomhet" finishes the album. The title translates to "Emptiness" and the song conveys this with ease. This song is like journeying deep through some forgotten land, through dangerous mountains, the murky shadows of dismal valleys and the ever-present threat of one's own demise. There is little hope, if any, and the burden of life becomes greater with each step. After several minutes, the song gets much quieter, and the feeling of total and absolute emptiness is overwhelming. The hopelessness is unbearable. And yet, at the darkest point, a faint glimmer of light shows through the darkness. Pleasant memories can be recalled; memories of better times. Memories almost forgotten. Yet in this moment, a longing takes hold and the realization that those times are, indeed, forever gone is impossible to escape. The hope that something good and pleasant may return... it only serves to torment the heart into utter oblivion. What was once beautiful has now faded into nothingness. The truest evil lays not in the realm of dragons and demons, but within the heart of man. In the emptiness of the human spirit...

(8 Sept. 2008)

 

After discovering the brilliance of the song "Black Spell of Destruction", so many years ago, I searched to find any Burzum album that I could. Back then, it was very difficult and the search took longer than I had anticipated. In the meantime, I managed to record my first Burzum song from the college radio show, "The Haunted Mansion", that I regularly listened to. This song was titled "Burzum".

[Contrary to popular belief, this is the official title of the song, not "Dunkelheit" as many seem to think. I have no idea why the German translations were listed on the back, but this is obviously a mistake. There is not a single word of German spoken on this album, as the actual lyrics are in English and Norwegian.]

The word "Burzum" means "darkness" in the black speech of Mordor, a language created by J.R.R. Tolkien. This was the first song Varg ever composed and wrote lyrics for. Upon writing this song in the summer of 1991, he changed the name of the band from Uruk-Hai to Burzum. This song was initially intended to be included on an earlier album, but the recording was considered to be poor.

Filosofem was recorded in March 1993, in Breidablik Studio. The sound is more harsh and raw, especially the vocals. It has been said that Varg chose to use the worst possible mic for the recording, and it shows. I think this is the one major setback of this album, when compared to the others. For one reason or another, this seems to be the most popular and accepted Burzum album, yet I feel that the loss of such unique and powerful vocals is a detriment to the music. This was the last black metal album recorded by Burzum.

"Burzum" begins with Varg's trademark, sweeping guitar riffs and sparse drums. The sound is cold as ice and the song is mid-paced throughout. There are keyboards that are used sparingly, perfectly blending with the music. The vocals are heavily distorted and raspy, yet more decipherable than the earlier albums. The effect is more grim, but it loses something with regard to the emotion that was conveyed with the previous style. Very inhuman, to say the least. However, later in the song, he uses clean vocals for a spoken word part. The mood is very dismal and hopeless as the music plods along and the arpeggio riffs repeat, again and again. It seems almost trance-inducing.

"Jesu Død" begins with fast tremolo-picked riffs but no drums. This continues to build up the suspense for a minute or so, as you know what is coming and become a little impatient. Absolutely brilliant harmonies used here. The raw production suits this song very well. The screeching vocals seem to take a place in the background, along with the drums, as this song is largely driven by the guitars. They are very distorted and abrasive, yet they require close attention in order to hear the different layers of melody. The fury unleashed by this song is truly unrelenting and Varg displays a great deal of stamina.

"Beholding the Daughters of the Firmament" is next, and the pace slows down from the previous song. This is very primitive and simplistic, yet creates a cold and sorrowful atmosphere. Again, I feel that the different vocal approach really holds this album back from achieving its true potential. As this song draws to a conclusion, the general consensus is that the album begins to lose something in consistency. I reject this view, but it may depend on what you are looking for when you listen to this album.

The next track is an atmospheric piece that abandons conventional song structures. "Decreptitude I" is very melancholic and imbues one with the sense of drowning in blood. Indeed, Varg sounds as if he is dying. As good as this is, I must wonder what it would sound like with his trademark screams. Either way, though most consider the album over after track three, I feel that this song is very essential to the overall atmosphere of the album.

"Rundtgåing av den Transcendentale Egenhetens Støtte" is a 25 minute long ambient piece, very much the successor to "Tomhet", from Hvis Lyset Tar Oss. It would seem that the masses lose interest by this point, or just can't digest such a lengthy song. Either way, it's their loss. This somber piece is actually very liberating in a sense, if you allow yourself to be taken away by the magic it creates. Along with "Tomhet", I played this song over and over as I was reading "The Lord of the Rings" and the two songs made a perfect soundtrack. It is odd how a piece of music that is so minimalist and simplistic seems to be lost on the most simple-minded listeners. Close inspection will reveal the melody from the song "Det Som En Gang Var" reappearing here. It kind of gives the impression of remembering that classic song, but in a dream.

"Decreptitude II" ends the final album recorded by a free Varg Vikernes. This is, more or less, a very lengthy outro piece, as opposed to being an actual song. After a minute or so, fuzzy guitar riffs fade in to add to the bleak atmosphere being created, with the same melody from "Decreptitude I".

I've read where people complain that the second half of this album is hard to get into and tries the patience of the listener. In all honesty, I think these are the sentiments of simple-minded sheep that shouldn't be listening to the album (or black metal, as a whole) to begin with. The masses simply want instant gratification without having to invest any significant amount of time, energy or thought. That is why this music is so difficult for them; it challenges them to think, and that's what many people fear the most.

(9 Sept. 2008)