Only featured on album Belus
|In a search for what black metal would become it became necessary to find out what it meant, and that leads us to a category of black metal bands who are "the conceptualizers," most notably, Burzum, Darkthrone and Immortal. However, it is only Burzum who exceeded the epic with the majestic in terrifyingly abstract and emotional music.
Created to "stimulate the fantasy of mortals," the music of Burzum is vengeance of chaos against the propagation of administrative and technological models for human existence, ideas which demand allegiance to rules and "morality," or the wisdom of mercy and social compromise as seen by Judeo-Christian technocratic society. Thrusting his fist in the face of that evident death-worship,
Grishnack enfolds the rejected darkness in the lucidity of structure in the most forebodingly empty and threatening views of the world.
Total nihilism reduces its belief in inherent nothing to nothingness and from that builds to absolutist ideologies which avoid the emptines discovered; Burzum carries this passion in music and lyrics as well as artistic conception and presentation. The includes the darkly organic Pagan neo-Nazi post-Nietzschean philosophies which Varg spouts in fragments to a barely credible and barely listening press. He envisions his ideology and music as a continuation of Nazi Germany in the 1940s as a pagan revolution against Jewish and Christian (Judeo-Christian, including Islam) influence, notably "morality," against which not only Nietzsche but other influential thinkers have railed (Burroughs, Schopenhauer, Wittgenstein, Pound, Shaw).
While unorthodox to the tastes of the public, these political beliefs must be understood for the complex ideological system they express at the approach of the demise of a materialist civilization. In postmodernist thought, we learned that our society operates with a justified "text" of ostensible motivation, and a submlimated "subtext" of desires and natural passions. As society continues to crumble toward moralism in the midst of self-destruction, newer thinkers look away from Judeo-Christianity and Liberalism toward older modes of thought which valued the place of all of humanity in nature before the "moral worth" of the individual.
For more information on the Judeo-Christian basis to materialist civilization in the twentieth century, read Friedrich Nietzsche's "Genealogy of Morals," sections 7-10 (describes the virus of Judaism and Christianity as a cult of psychological dependency and need, resulting in sublimated sado-masochistic power-obedience behavior) or Vaclav Havel's "Power of the Powerless." Also, to understand Vikernes, it is useful to study Northern European culture in its origins from Asia to India, and its history as an independent and noble community that used naturalistic values for the basis of its social structure, in dramatic opposition to the materialist culture to come with the rise of Jewish and Christian immigrants to Europe.
Long before the first Christian appeared in a misty fjord, the Norwegian people had a socialist approach to family, an open and fearless society, a hierarchy of metaphorically symbolic gods, and a world-exploring culture. Their trading partners were mutually considered equals, and their women had more freedom than in any other society on earth. Their values reflected the least of Nietzschean "clever" or "lower" materialist values and the highest of materialist-transcendent "noble" or "warrior" values. During the occupation, Northern Europeans have modified capitalism/socialism and Christianity to their most benevolent forms ever while maintaining one of the nicest places to live in the world with the least hypocritical and vengeful moralistic influence of the civilized nations. European society has suffered its 1,000 years of Christianity and as pro-Judeo-Christian influences in politics and media build in America and the island England, desire for separatism and neutrality is on the rise.
As a result, Burzum stays controversial: not answered, not rebutted, not forgotten and not even carried on. This work is simply enduring as both music and ideological impact of emotion and action.
In 2009, Varg was released from prison. It was announced he is working on new Burzum material.