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BURZUM, “The Voice From The Tower” (English translation of “Stemmen Fra Tårnet”)
Out of all of the men to ever pick up a guitar and lay down metal tracks, Varg Vikernes is perhaps the most misunderstood and unappreciated of them all. Vikernes is primarily known for two things: the part he played in the killing Øystein Aarseth and the basic outline of his political beliefs. It is really rather depressing that he is more famous for the former rather than the latter, but with the sensationalist jew-controlled media picking and choosing what it is that the public gets to see and hear about racists, this sort of thing must be expected. Some people don’t even know that he was involved with Burzum at all. Therefore, it would be appropriate to discuss the music of Varg Vikernes.
When the second generation of black metal exploded (literally and figuratively) in the late 1980s and early 1990s, bands could be generally divided into two categories: those that were extreme-for-extremity’s-sake and those that were abstract-for-abstractness’s-sake. Burzum tended to fall into the latter category, mainly because Vikernes essentially invented that subsection of black metal. At this point it would be correct to point out that the music of Burzum cannot really be considered “black metal” by the normal stylistic definitions. His music was a mixture of classical, romantic, baroque, and traditional European folk. The only things about his music that resembled black metal were the instruments involved and his vocal approach. For my money, Burzum was worlds above and beyond the atypical fast-paced death metal garbage that passed for black metal in those days and still today albums such as Det Som Engang Var and Hvis Lyset Tar Oss remain unrivaled for artistic expression and quality. Burzum is probably the most individualistic band that a person could hope to find. As Varg Vikernes was the sole member of Burzum, he had free reign to write and record whatever he so chose and nobody could argue otherwise. Beyond that, though, Vikernes had an uncanny ability to translate emotion to sound. Seemingly simple songs like Key To The Gate, Black Spell Of Destruction, Når Himmelen Klarner, and still others speak to the Aryan spirit in ways that few songs are able to do so. After his incarceration, Vikernes was given access to a computer, and using that, he wrote and recorded two albums: Daudi Balders and Hlidskjalf. These albums were entirely ambient keyboard works, playing out almost like Wagnerian operas of forgotten myths and knowledge that once was lost but now is found. Not surprisingly, these albums are the very definition of “love it or hate it.” Fans of black metal pretty much hate them; fans of Burzum pretty much love them. Most black metal fans see the albums as pure self-indulgent crap that doesn’t make any sense. Fans of Burzum see these two albums as the natural progression for Vikernes; after all, the notes being played aren’t really that different from something that the man would have written back in 1993. They are just executed differently. In a sense, Burzum and (by extension) Varg Vikernes are full of duality. Here is Vikernes’s explanation of the name “Burzum:” “ ‘Burzum’ means darkness or light, depending upon how you see it, really. If you’re a Christian, it probably means ‘the dark’ and if you’re a pagan it means ‘the light.’”
Vikernes seems to enjoy blurring the lines between the concepts of darkness and light. For him, the darkness of the judeo-Christian world is the light. Similarly, the light of the judeo-Christian world is his darkness. However, it must be understood that Vikernes is neither a Satanist nor does he endorse Satanism. He has stated that even as a young man, he was against Satanism, and this is reflected in his song titles. Many critics see this as ex post facto reasoning, saying that he did not discover racism and National Socialism until very recently and that he never used to claim to be a National Socialist or even a racist. These detractors would like to claim that he is merely jumping onto a racist bandwagon that did not exist until around 1998. Quite the opposite is true. As early as 1992, he is on record complaining about niggers and their negative influence upon metal (this occurred during an interview with Bård Eithun). A decade ago, racism was not exactly the greatest and most-followed trend in metal. In fact, left-wing rhetoric and lamentation for the fallen red dragon of the USSR were the most common political attitudes among most casual metalheads. Vikernes is therefore not a trend-hopper but a trendsetter, for better or for worse.
Returning to the concept of dark and light, there can be no question that Vikernes has a love for the light and an abhorrence for the dark…on his own terms. For him, the “light” represents all that is good and true about the Aryan and all that is associated with him. Naturally, the “darkness” is what is bad for and alien to the Aryan. The most overwhelming darkness, of course, is judeo-Christianity. He refers to Christianity as “a jewish implant” but avoids the very common “kill the Christians” rhetoric. On this subject, he says:
“I think that’s ridiculous. What’s the logic in that? Why should we kill our own brothers? They’re just temporarily asleep, entranced. We have to say ‘Hey, wake up!’ That’s what we have to do, wake them up from the jewish trance. We don’t have to kill them - that would be killing ourselves, because they are part of us.”
To Vikernes (as well as many others) Christianity is a form of thought control forced upon Aryans by the jews as a means of keeping us in line. The tracks of his album Hvis Lyset Tar Oss tell this story quite superbly. Translated, the tracklist reads as follows: what was once (Det Som Engang Var) before the light took us (Hvis Lyset Tar Oss) into the castle of dreams (Inn I Slottet Fra Droemmen) and emptiness (Tomhet). The album represents Vikernes’s desire for us to return to our natural state and reject the “dreams” of Christianity.
Following with the duality of Varg Vikernes, one must not forget his name. Ironically, his birth name was Kristian. He changed it to Varg, which is a descendant of the old Germanic word “uargr” meaning “wolf.” Many Germanic names have to do with wolves, as the ancient Teutons revered them as symbols of honor and pride. However, the names that are “honorable” and relate to the wolf are descended from the word “ulf.” The “uragr” word is more ignominious, often used in relation to common criminals. Here again is Vikernes’s dualism in action. By rejecting the traditional meaning of “uargr” and replacing it with the meaning of “ulf,” he is creating another axis between good/evil and light/dark.
Vikernes is a devoted naturalist. If it were not for his National Socialist beliefs, many people would consider him a tree-hugger. He despises the pollution of the earth and has a general distaste for all that is not natural, such as homosexuality and jewish morality. He feels that the earth is the beginning and the end. Everything dies, but nature and its processes are eternal. He rejects the humanist doctrine that states that we are above nature and that the entire natural world is subject to the abuse that humanity puts it through. He understands that to abuse nature is to abuse one’s self.
The negative aspects of Vikernes’s spirituality have been discussed, so it is now time to cover those aspects that are positively entertained. Vikernes is an Odinist and has been for some time. His detractors claim that he did not discover Odinism until after being put in prison, but there is evidence that he subscribed to at least some Odinist ideas well before his incarceration. The final album from Burzum (Ragnarok) is actually a collection of demos and other unreleased material from Burzum’s past. One track on there is the Håvamål as spoken by Icelandic Odinist Sveinbjorn Beinteinsson. The Håvamål is a traditional prayer to Odin that has been used in the Odinist and Asatru faiths for millennia. Beinteinsson died in 1993, so there is no possible way that this was done after Vikernes is supposed to have jumped on the Odinist bandwagon in the late 1990s.
What shall become of Varg Vikernes? He is set for release in 2014 or 2015. Right now, a documentary about him entitled When The Light Took Us is being filmed. Information on this is sparse, but it is supposed to be quite a revealing look at his prison life and is apparently not going to be antagonistic in its portrayal of Vikernes. Some have suggested that Varg will be assassinated after his release. In answer to these rumors, Vikernes laughs but essentially says “bring it on.” He feels that if he is not careful enough to watch his back outside of prison, then he deserves to die for not being intelligent enough. Such is the life of an Aryan.
