Burzum, a/k/a Varg Vikernes, is the most problematic figure in the musical underground. He is a murderer, an arsonist and a racist, yet his music is some of the most important in the last twenty years. He was the single most essential member of the Norwegian black metal movement, and is responsible for shaping the sound of black metal more than any other musician, save maybe Bathory. His hypnotic style of black metal launched countless imitators all in search of the transcendental power of what has come to be known as the "Burzum Buzz" - that blizzard of sound that Varg creates using tremolo-picked guitars. His influence has stretched far beyond the world of black metal, with ambient/experimental artists as well as post-rockers and even the occasional indie rocker calling upon the magick of Burzum from time to time. Despite his failure as a human being, the power of his music is undeniable.
"Belus" is the first black metal album Burzum has released in 14 years. Paroled in 2009 after a 16 year prison sentence for the murder of Mayhem guitarist Øystein Aarseth, Varg immediately took to recording "Belus." To say that anticipation for this album is high would be a bit of an understatement. Given that Burzum's "Det Som Engang Var," "Hvis Lyset Tar Oss," and "Filosofem" enjoy a place in black metal history equal to that of Zeppelin's first four albums in hard rock history, or Sabbath's first five in metal history, the release of Varg's first black metal album following "Filosofem" is something of an event. Not only does it celebrate the return of the genre's dark lord, but it answers the question as to whether or not Varg is still black metal's most important and original voice. Fortunately for all of us, the answer is an unqualified absofuckinglutely yes.
"Belus" doesn't just meet expectations, it blows right through them and takes the "Burzum Buzz" to a whole new beautiful and terrifying place. Beginning with a short experimental introduction, the album damn near picks up right were Varg left off 14 years ago, with his famous guitar motifs and shrieking vocals spilling from the speakers. If there is any real difference between between Burzum of old and Burzum of new it is that the sound is tighter than before, with more complexity. "Glemselens Elv" is a prime example of Burzum's evolved approach. The song has that buzz, but a double track vocal of sung and screamed voices, a tumbling rhythm pattern bouyed by double bass, and a prominent bass guitar all make for a more developed approach than we have heard from Varg before. "Kaimadalthas' Nedstigning" offers another nice progression in the Burzum catalog. The song begins with a brutal sonic assault of guitars and blast beats, before the piece takes a left turn and turns the guitar attack down, drops the blast beats and changes up harsh vocals for unadorned spoken words. The song alternates between the two approaches before building toward a surprisingly melodic emotional finale. It's great stuff, and progressive without skimping on the hypnotic power that is at the core of Burzum's music.
"Sverddans" is another move sideways for Burzum. Owing more to punk and thrash than black metal, the piece chooses to stomp, rather than buzz. The album's final three tracks "Keliohesten," "Morgenrøde," and "Belus' Tilbakekomst (Konklusjon)" are three of Burzum's most hypnotic and powerful songs ever. Each takes the listener on an inward emotional journey. "Morgenrøde" eventually dissolves into simple buzzing guitar motifs that are almost ambient in nature, and which are continued throughout "Belus' Tilbakekomst (Konklusjon)." Such an approach is the logical conclusion to Burzum's atmospheric sound. If what makes Burzum so special is that buzz, then why not strip the songs down to their essence? It is riveting, trance-inducing stuff that has more in common with Sunn 0))) and Pandit Pran Nath than Mayhem.
To his credit, Varg has never incorporated his revolting politics into his music, instead looking to Tolkien and paganism for inspiration. He has gone out of his way to make it clear that "Belus" is not a political album in any way, even going so far as to drop the original title "Den Hvite Guden," which was translated as "The White God," to ensure that no one interpret the album in racialist terms. Instead "Belus" is about an ancient European sun god, his death, journey through the underworld and eventual triumphant return, it is also about the triumphant, and yes, problematic, return of Varg. If he were a second-rate musician it would be easy to simply ignore Varg, but there is nothing second-rate about his music. He is one of the greatest musical talents in the independent music world, and "Belus" is quite simply his masterpiece. It not only stands up to his earlier classics, it bests them in every way. Welcome back Varg, now please try to behave.
Listen to "Belus' Doed"
Listen to "Kaimadalthas' Nedstigning"
Listen to "Morgenrøde"
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