Metal Blade Records has reissued the three Immolation albums that they hold the rights to: Here in After, Failures for Gods, and Close to a World Below. These three records, the latter two with flashier but less pure drummer Alex Hernandez, are some of the bands peak works and saw them completely leave behind the few vestiges of speed metal that remained on Dawn of Possession, which is perhaps still their best overall work. Following Close to a World Below, the quality of the band’s material greatly declined even though their last record with Hernandez, Unholy Cult, was still a strong release.
Much like Darkthrone’s Under a Funeral Moon preceding Transilvanian Hunger or Immolation’s Herein After before Failures for Gods and Close to a World Below, Burzum’s Det Som Engang Var(roughly translatable as “What Once Was”) before Hvis Lyset Tar Oss(“If the Light Takes Us) puts on display all of Varg Vikernes’ faculties as a composer in a way that is still relatively easy for a listener to make out the different things he is doing, unlike the next album where a convergence and purification that only a minority are able to grasp in all its excellence and magnificence. As Brett Stevens commented not so long ago in reference to Immolation’s Close to a World Below, some bands make the same album again and again until they are able to solidify their vision in a magnum opus.
Many metalheads who respect this album may do so out of a respect for how influential it is, without truly understanding that even if this album came out today, after all the others they are said to have influenced, it would still be as impressive and worthy of high praise — but perhaps it would not be noticed by the same people who today profess to appreciate it. Contrary to common belief, its worth is musical, not historical only. This is not very different from people who “enjoy” Black Sabbath or Celtic Frost, but fail to see the monument that works like Master of Reality and To Mega Therion are. In great part this error lies in associating or equating technical prowess on the instrument and an apparent “complexity” of notes with a complexity of thought and excellence in composition. These albums display an astounding clarity resulting from the exquisitely fused elements of music (harmony, melody, rhythm…) in a way that may strike the unaware as “simple”. Confusing intelligibility with limitation/blandness/simplicity is the greatest sin one can commit against masterworks of music, because the greatest works all share this as a common trait.. While this is even more true of Hvis Lyset Tar Oss, it bears bringing into question the undue musical disrespect of which Burzum in general is the victim.
The album contains tracks that make use of abrasive and extremely dissonant intervals, very consonant and relaxed harmonizations of melodies, synths as support and synths as the main instrument in ambient tracks all together and mixed in different ways and given the spotlight in different tracks. It is, perhaps, this up-front “complexity” of having so many distinct colors that at least attracts the attention of and mention by even those who do not understand black metal. The composition itself is technically nuanced but like any proper work of art, comes off as intelligible to the point of being confused with “simplicity” in its negative connotation. The complexity of the works like Burzum lies in the seamless unfolding of a story, a masterfully woven tapestry blending all sorts of disparaged puzzles and meanings within its frames not unlike Hieronymus Bosch’s The Garden of Earthly Delights. The importance of discussing Det Som Engang Var is that it is here that his thinking is most easily and obviously seen. Without understanding this album, monumental works like Hvis Lyset Tar Oss and Burzum’s stepping-into ambient(or as he described it, Anti-Black Metal) territory, Filosofem, can never be truly appreciated.
Regarding its little-mentioned lyrical topics that are actually worth mentioning in any integral metal work, they consist on a mixture of melancholy and longing for a grand and fantastic past that exists more in the mind of a romantic than in historical reality (but which makes the values and traditions it longs for no less meaningful or real), and an existentialist questioning of the self’s position in a world of men that makes little sense and which launches the brave man in search of truth behind, or rather past, human constructions. In addition to that, the tendency towards nature worship and an attraction towards the forest as the archetypal home of homes, a safeguard from the evil of men and their perversions motivated by greed and thirst for power, is ever present in Varg Vikernes’ language and allusions. These have also been the target of cynical contempt by the petty minds of postmodernists who are unable to make a connection with nature and are rather too fond of themselves as creatures of a decadent society, leading them to denounce anyone pointing at obvious truths about its breaking-apart.
Restoring the pride and respect that Det Som EngangVar has never had in truth, just as Burzum hearkens to a grand past that has never existed here on Earth but that through an evocation of opposites rather points to an idealist future, so we attempt here to find a direction for future metal to grow in undreamed of ways that do not diverge from the essence of metal and that stand on the firm example of the greats that did exist but have never been duly studied.