Varg Vikernes founded Burzum and contributed heavily to the black metal movement before being jailed in Norway in 1993 for murder and possible church arson, then on his release in the 2000s began releasing the continuation of his prison-years ambient soundscape albums, most recently with Sôl austan, Mâni vestan and The Ways of Yore. Now he faces additional problems with both French and Russian governments.
Almost a year ago, Vikernes was arrested in France for suspicions of violating anti-discrimination and civil rights law there. His trial came up recently and a French court has convicted him and sentenced him to a six month suspended sentence and $10,000 in fines. In addition, Russian authorities seized his web site from June 18-23 because it found the Russian edition of his book Vargsmalviolated Russian speech law as well.
While I can’t say that I agree with Vikernes — although I am fond of the first three and last two Burzum albums — in my view speech codes and goody-two-shoes laws are about the most un-metal thing there is. In the 1980s, the Parents’ Music Resource Center (PMRC) tried to prevent us from hearing music with lyrics containing gratuitous sexual or occult content, but now thirty years later, our governments are more worried about political speech. It tells us what threatens these governments that they are now just fine with our gratuitous sex and violence and occultism, but have turned their focus to ideas themselves. It’s an odd turn that I never could have foreseen.
Among metal’s legions are many for whom society is not a fit. Society tries to find rules to make everyone get along; metalheads, who “think outside of the box,” tend to look toward what they see as right, not socially compatible. As a result there are many in metal who stand above the crowd and are impossibly iconic for their unique worldviews. One such man is Burzum’s Varg Vikernes.
After creating in the course of four early albums an impressive body of art that essentially ended black metal as it was by raising the bar beyond what others could easily participate in, Vikernes was imprisoned for sixteen years for his alleged role in church arson and murder. During the time he was in prison, he put out two more impressive keyboard-based albums and several books’ worth of writings before falling silent around the turn of the millennium.
Upon his release, he didn’t slack off, either, but pushed out two new albums influenced by the rising drone-NSBM trend from Eastern Europe, and has released a film, is currently working on a role-playing game, and continues to produce numerous writings and a new theory of history. Since he is an object of interest as well as such a strong personality that he cannot escape notice, he has continued to use interviews and other public talking points to advance his ideas.
Whether we agree or disagree with the man, it’s hard to argue that his back catalog is anything but on the whole impressive, or that he isn’t articulate and forceful about his beliefs. Recently, he released his first post-prison ambient album, Sôl austan, Mâni vestan, which in the words of our review is a “vivid journey from start to finish…Vikernes has returned, and has found his natural voice.”
Deathmetal.org was fortunate to catch Mr. Vikernes in a rare un-busy moment between his many projects, where he answered a few of our questions.
With Sôl austan, Mâni vestan you have left metal behind, and yet this work has as much identifiable personality as your earliest works. What do you think makes this style so adapted to where you are now, and what you want to express?
This type of music has always been a part of Burzum, from the very first album and all the way to Umskiptar, so I think those who appreciated the old non-metal music will perfectly well be able to appreciate this non-metal music as well. In a sense I keep making music in the same style, only I have left out the metal parts.
Can you tell us a little bit about the influences on this album? Were these influences instrumental to achieving this new sound?
I know where you want to go, but the truth is that I didn’t listen to any other music whilst making this whatsoever; I didn’t seek inspiration in any other music and I did not even think of any particular music whilst making this. However, upon completion I did think it reminded me a bit of a calm version of Tangerine Dream.
This album is made for the ForeBears film, and I guess it is correct to say that I was inspired by the concept of that film.
In your writing on Thulean Perspective called “Shadows of the Mind,” you mention how black metal can be a gateway to the Divine Light. What is the Divine Light?
Your work seems to have been guided since its earliest forms by a sense of the “poetry” of existence, and a purpose to the human experience, while others were busy disclaiming this. What shaped your thoughts in this regard?
I think it is simply due to the fact that I knew instinctively that it was better before. I missed what once was. I longed for the past that I felt was better. I dreamt of things that had been but were no longer.
After Sôl austan, Mâni vestan, where do you see yourself going artistically? Will you continue to make albums in this ambient style, or re-invent music in another form?
I can dream of the past, but I never make artistic plans for the future. I just follow where my spirits takes me, so to speak.
What is the purpose of art? What habits or activities do you find most crucial to the spirit that drives your art?
It’s the spirit of the past trying to break free and influence the world we live in today. That’s the purpose and driving force too.
What do you think black metal had to contribute? Do you think your earlier aggressive work, and your newer more mellow work, come from the same place?
They do, and I think black metal is just a expression and (for fans) appreciation of the despair most men feel from living in a world that is not built for them. When you grow up, so to speak, or perhaps just grow wiser (many young men are wise too), you move on and instead of whining about the world we live in you do something about it instead. Black metal has woken up many good anti-Jewish Pagan Europeans and has thus lead them on the right course.
The lyrics to “Dunkelheit” suggest a natural mysticism to your work. Do you see this in the ancients as well? Do you think this knowledge changes people in such a way that they cannot be part of modern society? How do you see this as different from the Christian spirituality?
Christian spirituality? They have none.
I think the natural mysticism will wake up Europeans; the Pagan spirit is like embers waiting under the ashes. All it needs is some dry wood and it will turn into a flaming fire again, burning, warming and lighting up. Natural mysticism is, amongst other things, that dry wood.
Do you think history is cyclic, meaning that similar events lead to similar outcomes and thus, people eventually return to the same eternal truths? What do you imagine those would be? Is there a way to express such truths in art?
Yes, similar events lead to similar outcomes, and truth prevails in the end, always, so when they are blurred, distorted, hidden or spat upon they will always return to glory. There is no unversal truth in this context, becuase man is not universal, just like animals are not. I am part of the European species, and the eternal truth to us is Honour, and we will return to that for sure.
Yesterday Vikernes received the word again that his fourth application for parole is denied. In written response, the parole board stated that he can apply again in a year — and that one more year in prison isn’t enough time to repay his debt to society.
“They can find all the time for new excuses to try not release me. I and my family have repeatedly requested a follow-up of parole, but when they use a year to process my application, I have already missed the deadline they think I should spend on parole. They flout all laws and regulations. They do not do their jobs, something that goes beyond me and other prisoners. I think it is terrible that they can not give me a second chance,” said Vikernes.
He continues, “I bought my house thinking that I would have parole in 2006. This is due and will not be collected — in addition to that there is a lot of expense for upkeep of the housing. My French wife and our son may have to move back to France. The reason is that she does not have the means to keep everything up. I risk losing everything because of a rejection of my parole application. I have learned from my mistakes and become older.”
It has been over a month since we have launched the song contest here at DMU. Our suspicions that very few people would enter the contest due to our reputation for honest yet harsh reviews were confirmed. This was probably why only two contestants presented themselves in any capacity. Consequently, no winner shall be appointed nor will awards be handed out: two entries do not constitute a contest.
The consensus seems to be that Christ does not belong in metal. Well, neither does Satan. Rigid patterns of thought are not conductive to the creation of transcendental metal music. The failure of NSBM stems from the rigid ideology into which the music was forced like a Procrustean bed. The two Christian metal bands worth a shit have been covered on this site: Paramaecium and Antestor. The only NSBM bands that are not terrible are the bands, like Graveland, that preceeded the creation of the subgenre and were only lumped in with the scene later… Gontyna Kry seems to be the sole exception to NSBM sucking.
With the fiftieth anniversary of metal music around the corner, forthcoming years will witness an increase of publications dealing with the history, legacy and defining characteristics of the genre. This could finally resolve the lack of consensus that still exists regarding the definition and origins of heavy metal.
Varg Vikernes posted a video a few weeks ago to his ThuleanPerspective Youtube channel listing the ten metal albums most influential to Burzum. We forced a lowly, supple-assed Death Metal Underground junior staffer/catamite to type them up into a play list for our readers:
Why write bad reviews at all? Good music is rare, and bad is everywhere, but if you do not explicitly identify the failings of bad, most people will find it appealing because it does not interrupt their steady stream of self-centered thoughts and is easier than seeking good. If you like good music and want more of it, you must bash as well as praise, as Machiavelli would tell you. And with that, the latest installment of the Sadistic Metal Reviews…