At least one metal musician has learned that if society attacks, you counter-attack. Varg Vikernes of Burzum, who was arrested several weeks ago and charged with inciting racial hatred, is attempting to sue the French government for an arrest that ultimately led to no new charges because of a lack of evidence.
“We want to sue the authorities for arresting us for no good reason whatsoever, doing so in the most brutal way possible and with children present,” Vikernes wrote on his blog.
During the early 1990s, Vikernes created a one-man band named Burzum which knocked out a series of innovative, multi-riff songs designed to blur the boundaries between metal and ambient, and “awaken the fantasy of mortals.” Some metal historians believe that Burzum’s Hvis Lyset Tar Oss effectively ended black metal’s development by raising the bar above that which others could follow.
Since that time, Vikernes has spent sixteen years in Norwegian jails, written several books, and continues to both produce music and write political texts. His most recent work, Sôl austan, Mâni vestan, is an ambient work that recalls the power of earlier Burzum.
As related in this news report, Varg Vikernes has been arrested on suspicions of terrorism in France.
The evidence against him appears to be that Anders Breivik wrote to Vikernes some time ago, and while Vikernes then called Breivik a “Christian loser” on his blog (for killing Norwegians), Varg’s wife had recently purchased four rifles legally in France. Somehow these two events add up to a possible massacre.
This is unfortunate because Vikernes has just released the excellent Sôl austan, Mâni vestan, which is like a cross between classic Burzumic ambient and the music of William Orbit. We’re hoping he’ll be freed to make more floaty ambient albums.
We also tend to think the whole thing is dumb and overblown. He went to prison; he served his time. Now he’s living a normal life for the first time in two decades. He should be encouraged to do this! Not only for society at large, but for metal, which now permanently has Burzum in its blood.
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.
After a hiatus of some years, Burzum returns to the path that is intuitive and natural for composer Varg Vikernes, who drifted through a triplet of droning black metal albums before discarding the genre. Sôl austan, Mâni vestan picks up where Hlidskjalf left off, except that this new album uses a wider range of sounds and also covers a wider range of emotions.
The title, meaning “East of the Sun, West of the Moon,” encompasses the cosmic music nature of this album. While the sounds are thoroughly contemporary, the spirit of this album is in the stargazing music of the 1970s that attempted to find divinity even as the world around it seemed in a state of total doubt. Having explored the darkness and alienation of the past, Vikernes increases his palette here to include the playful, mystical, mysterious and placid, and works them in contrast to one another so that no one dominates and becomes background noise, but he pushes right to that limit with not only direct repetition but allusion to very similar themes across songs. The result is like a hypnosis into which the listener slides, unaware that through this mundane noise a vision of great beauty and even metaphysical significance will be found.
As Vikernes said in a blog post, “We are all lost souls in a dying world, so to speak, stripped of all spiritual life and energy by the societies we live in, and left to find new spiritual life and energy on our own. We stumble, we fall and we get up again, as we progress, and black metal, although empty and hollow like most other things in this world, is actually a good gateway to the Divine Light. If nothing else black metal has been a way to find true meaning, a positive direction and new life for many.” This attitude pervades through Sôl austan, Mâni vestan which consistently uses simple and catchy sounds to introduce themes which gradually develop into something revelatory of the sublime, like a flower opening from a bud hidden under dirt.
Burzum showed its affinity for 1970s relaxing and New Age style music with classics like “Tomhet,” “Rundgang” and the cheerier parts of Hlidskjalf. This new album picks up from that influence and goes further, fusing the classic Burzum sound with a full range of moods as one might find on a professional ambient album from the heart of that genre. Unexpected technique, including duets with guitar and bass through which keyboards and sampled tones dive like seabirds in flight, and flair borrowed from rock, ambient and jazz, offset these fundamentally simple tunes and embed them in the kind of texture and nuance you might expect from an Autechre or Aphex Twin album.
In the meantime, although not only the black metal aesthetics but also the black metal voice have been cast aside, the uncanny sense of pacing remains which Vikernes uses to engage us, lull us, excite us and finally bring all of these things into collision. In many ways, this music is more black metal than his post-prison guitar albums because it has such a range of emotions, and such a vivid journey from start to finish. In that sense, Vikernes has returned, and has found his natural voice after many intervening years. It’s not black metal, but who cares? It’s excellent and relentlessly intriguing.
Burzum composer Varg Vikernes has posted a “goodbye” to his old self as a metal composer and in a sentimental posting, announced his retirement from metal and his intent to pursue ambient music alone.
Burzum appeared from nowhere in 1991 with a demo tape made up of a dozen guitars-and-bass-only tracks in rehearsal quality. I made a few more or less successful metal albums, but they all always included at least some ambient music. With time I moved further and further away from metal, and today only the ambient music remains. Today (2013) I think I am done playing metal music for good.
Many of you followed Burzum through the years, some even from the beginning, and I think metal-Burzum deserves a proper “good bye”. So, just like I started out I will finish metal-Burzum with a guitars-and-bass-only track in rehearsal quality. “Back to the Shadows” is made up of the last metal riffs I ever made (in 2012). It was never released in any way, or recorded (beyond what you hear here), and it will not either — beyond this short “video”.
Take it for what it is; a sentimental good bye to metal-Burzum.
The music is playing with an image of the 17 year-old me, taken from the time when some of the first Burzum tracks were made. You can see this track as a good bye to that fellow too.
For those of us who have been watching Burzum and Vikernes over the years, this is a welcome development. Heavy metal is beautiful but it will always be attached to popular conceptions of entertainment. Ambient music, especially complex material, gets treated as culture.
While we hope to change that perception of metal and to have it be studied as art and part of culture, that’s an uphill battle when the fans routinely rush to gimmick bands and depthless clones in a hope to be part of the next popular trend.
Either way, this bodes well for more interesting compositions in Burzum’s future.
The semi-reclusive Varg Vikernes, sole composer of Burzum, has announced his plans to release a film and a new role-playing game (RPG). As part of the film project, he has revealed a new track designed to act as part of a soundtrack for the film.
As if influenced by some of the non-black-metal soundtrack material from the film Until the Light Takes Us in which Vikernes, as in Lords of Chaos, the most in-depth story of black metal before it, Vikernes opts for a down-tempo single guitar track with no distortion.
The result utilizes a slow and gentle sweeping arpeggio behind which lower notes direct the evolution of the track, much as happened with the countertheme in “Rundgang um die transzendentale Säule Der Singularität” from Filosofem. As the song goes on, these layers interact to push change into the main theme, not in the electronica method of circular layers, but the metal one of a narrative expanding from within itself.
It is hard to tell if this is the type of material that will be on the forthcoming Burzum album Sôl austan, Mâni vestan. While many consider the “keyboard albums” among the band’s best output, a mixed-medium album could be interesting. While this new track has one foot in that world, it also has one foot in the more audience-geared world of the last few Burzum black metal albums.
In the mainstream press, black metal has a reputation for being solely misanthropic, heavily distorted anthems of aggression and despair that are defined by their primitive minimalism.
While this may hold true for the majority of contemporary bands, this view overlooks the foundational bands of the genre, who possessed a deft sense of melody and the focus to create longer compositions that allowed for more introspection.
Just as black metal musicians created a more minimalistic form of death metal, some were able to apply the same approach to the ambient and neoclassical genres, crafting tracks that through the use of repetition, stirring melodies, and tonal variation reveal the genre’s primal elegance without need of layers of distortion.
Favoring simple but expansive compositions, contemplative melodies soar over mild arpeggios; in addition to a few tracks of industrial nihilistic deconstruction. Through the utilization of modern technology, Burzum makes narrative and meditative music that like its inspiration Tolkien, takes the participant on an internal journey to another realm.
A side project of Darkthrone‘s Fenriz, in Neptune Towers haunting melodies glide over dark drones while otherworldly noises color the backdrop. Evocative tracks signal the coming to Earth of a yet-unknown alien species or perhaps the future evolution of humanity, the soundtrack to the future.
This band fuses its earlier black metal style with the industrial, pop, and ambient genres, featuring melodies that would not be out of place on a metal album, but pairs them with repetitive trance-like drums, synths, and found sounds that coalesce into epic moments before fading away like the rays of a burned out sun. Fans of multiple genres should appreciate this one.
Elegant and skillfully composed tracks celebrating the beauty of nature in their simplicity reveal a greater depth of expression than would be possible with over-produced tracks. Just as he did with black metal, Ildjarn with compatriot Nidhogg reduces neoclassical music to its most basic form and builds from it an enchanting structure.
A side project of Graveland, with Lord Wind martial drumming and heroic melodies bring to mind the battles of old, while synths and choruses expand the project’s horizons, providing reach to contrast with the grounded and earthy rhythms. Well-crafted neoclassic folk music, this is the further continuation of Graveland‘s second stage.
The good news is that it’s more clearly Vikernes writing this record. His previous voice, like his previous actions, seemed to get swallowed up by the notions of his “advisors.” As a result, previous albums did not sound at all like something he touched at all with his personality. This album re-engages his soul a bit more but remains a deliberate use of his talent to produce something cut to form, and the form is what is dictated by the audience. The result is to repeat the error of modern society over again: the people are led by economics or politics, instead of the other way around. While song structures vary somewhat, Umskiptar is designed around the verse-chorus model with melodic choruses and rhythmic, upbeat verses. Like many pasted-together projects, these are united with chromatic fills or conventional devices borrowed out of classic metal. While this album is not as cynically manipulative as the new Napalm Death, for example, it falls short of what made Burzum great, which was an innovative thinker opening up his mind and creativity to the audience. Like his mentor Tolkien, he took people on an adventure with what was and might be again. With Umpskiptar, the listener feels as if he is in one of those Disney-ride type “folk metal” bands that is mostly rock music with folk touches. Bands have been doing this since the 1970s… it has never succeeded, because people regress to the mean and in this case, it’s the archetype of rock and not folk. Vikernes’ early influences come out here, with muffled-chord riffs that sound straight off the first Destruction LP and what sounds like Iron Maiden influences. Musically, it’s adept enough that no part is offensive, and his use of three-part riff clusters as in traditional music is much appreciated, but it doesn’t add up. The whole is not greater than the parts and no atmosphere is created, thus the whole time we are aware that we are modern consumers listening to a modern musical product. Further, the riffs, tempi, themes and transitions are very similar, which in the absence of prior atmosphere does not cause a deepening but a sensation of floating on the surface. Many of the vocal tracks are entirely chanted in the death metal voice, which creates a ludicrous sensation of being yelled at by a drunk guy on the subway. By the time we get to “Valgaldr,” which sounds like an outtake from a bad stoner doom metal album, the lack of energy going into this album is evident. It’s ridiculous to expect an older musician to recapture his younger days. However, it’s equally ridiculous to sabotage a good musical brand by turning it from something rare and brilliant into something pedestrian with interesting “touches” and “accents.” That cuts to the real problem with this album and all post-jail Burzum: they’re boring. Not unmusical, but sparse in density with songs obviously patched-together “to be a song” and not to have any voice of its own. The new crop of teenagers he wants to sell albums to may enjoy this but it’s not distinctly better than its competition enough that it will endure as anything other than an SKU#.
ANUS came out a couple weeks ago with a giant defecation on the new Burzum. People immediately complained that we hadn’t heard it, were being judgmental, and all sorts of silly stuff. What they didn’t realize is that you can hear a lot of things without officially owning them or getting them from the label, but you’re not going to do anything to hurt your sources. All of that changed last night, of course, with the official leak of the Belus master and 2LP version.
You want the tl;dr on the new Burzum? “Sounds good, soulless and disorganized.” This album has no direction but Varg is so adept at making simple riffs pretty that you want to drink it down. Cold, sweet, vast in flavor like a Snapple — but after listening to it a few times, you end up thinking: why am I doing this? This is no different than watching TV, going to a megachurch to hear about my immortal soul, or buying wallpaper. It’s pretty but has no direction so it ends up being like all other drone albums: a basic theme that picks up detail as repetition increases, then trails off into nowhere.
If you want music to replicate the experience of watching cheerleaders attempt to act out Macbeth, this might be for you, but not likely. Riffs are based on simple harmony and well-composed, but go nowhere, incorporating at random influences from Russian black metal, Ukranian black metal, German speed metal, Terrorizer and random death metal. A good deal of this shows the tripartite influence of Swedish melodic death metal, Slavic drone metal, and the American style of black metal flavored indie rock. The first track “borrows” the melody from the title track of one of the keyboard albums. Two of these tracks are obvious Uruk Hai do-overs.
The final track sounds like Sunn o))) doing their version of Burzum. Makes me wonder if the label and his Russian handlers didn’t sit him down with recent black metal blockbusters and try to get the trained monkey to make his own version. The musical ability here is precocious as always, but the raw material fed into the machine is gunk, so what’s output is really well-adorned gunk.
When you hear it, notice how simple the riffs are relative to the fills, trills and decorations that space them. It’s like dressing up a turd until it looks like a Faberge egg, from a distance. But when you get close, or listen to it a dozen times, you’ll see the difference.
This long-awaited independent film documentary finally hit London as part of the Raindance film festival, as metalheads and indie pricks alike filled the seats to watch what has been promoted as the least sensationalist take on the all too familiar events surrounding the Inner Circle and that Scandinavian wave of Black Metal. ‘Until the Light Takes Us’ presents the story through the thoughts of some important figures from that scene, most notably Burzum’s Varg Vikernes and Fenriz of Darkthrone, who are able to articulate more of what constituted the worldview of that movement, from two very different perspectives – Varg as the idealist finding himself trapped within his surroundings and Fenriz as a former idealist now trapped within himself. For example, the Count Grishnackh likens his experience in prison to being in a monastery, as it imposes a strong sense of discipline on him, conducive to self-development, engaging with reality at the level of ‘ideas’ and the eternal quest for ‘Truth’. Fenriz, on the other hand, looks pretty directionless and resentful of the events that culminated in his loss of spirit to the extent that he describes his current music with Darkthrone as like petting dogs (the fans) and inspiring them to share his misery, possibly offing themselves as a result.
This film is clearly a chance for those involved to speak about such things after the initial media attention and exposure had long ago infected the exclusivist purity of Norwegian Black Metal. As such, it is not really a film about Black Metal. No clear picture is put together as to be able to explain what Black Metal is, although larger conclusions can be drawn as streams of dialogue intersect and are placed alongside appropriate imagery and Nordic scenery. The anti-Judeo-Christian sentiments of church burnings and the anti-consumerist, anti-westernisation implications of Helvete’s radical ideology are explored with reasonable depth, but there is nothing much said about what they affirmed and found beauty in, which is the real impulse behind many classic Black Metal albums. Combined with what seemed to be the ultimate fate of these artists as some form of social ostracisation and self-destruction (captured by Satyricon’s Frost and his throat-slitting public art display, and Dead’s suicide), Black Metal – whatever it is – comes off as a dark curiosity ultimately yielding fatalistic results. Fair enough, that’s not the purpose of the movie, but for a Black Metal initiate, this film offers little more than surplus interview material. It’s interesting as a documentary, exploring the detrimental effects of media bullshit super-imposed on an ideological and artistic movement that stood well outside of what the media can express in it’s limited lexicon, and provides content for those interested to further research this cryptic genre.