Niklaus

I've been listening to some Burzum lately, and at the moment my favorite is Filosofem. I'll look for this one if it's a good mix of black and ambient like the other one.

Yes, Filosofem is undoubtedly a masterpiece and a turning point. Personally, I like everything by Burzum; for example, one of the most harshly criticized works is Umskiptar, which I find one of the most inspired and consider pure poetry in music! This gives you an idea of how much those who see themselves as absolute critics can be wrong and make significant mistakes... Emotions cannot be debated and always vary from person to person. Of course, if someone is looking for a Page-like riff or a "chart-topping hit," they have knocked on the wrong door. For those who already possess a certain way of feeling and seeing the elements, the ancestral myth and the ancient roots of our peoples, then the discourse changes radically...

I agree, if one wants to approach this world, they should not have such expectations; however, I will also listen to the title you mentioned.

I agree. Filosofem is the one that has affected me the most. It has a serious "tone" that digs into the soul... many critics (unfamiliar with the Scandinavian black metal scene) always focus on the character aspects and the infamous events surrounding the murder. Far from me to sugarcoat them or downplay them, but one should also consider the depth of an artist who, willingly or not, made his mark and distinguished himself from the fast-paced trends of the genre in its early years.

Very good, otherwise we wouldn't have to listen to Wagner either. And then that business about the murder has some backstories and particular dynamics, as you well know.

Yes, I've read enough. The fact remains that he did something serious at an age when falling into a disastrous situation can overshadow one's entire future. Considering that even today Varg is not well regarded and is monitored by law enforcement... wherever he is. In metal, it's easier to find questionable and contradictory situations than good guys.

It’s true, among other things, he also has a YouTube channel where he frequently posts videos on just about any topic.

Of course, it feels strange to see him there in the car with his children, looking like a calm country man.

Time passes for everyone. The return to the earth is at the core of pagan philosophy or belief. Then I don't think he had many other choices... it's hard to fit into a society that outwardly wants to seem inclusive but is, in essence, exclusive and elitist. Those who are born as antagonists die alone.

I agree with both, I've been following this project since 1994, and in '96 I even wrote a heartfelt letter to MH in his defense, and let it be clear, in defense of his Art, not him! I always separate the artist from the work, or rather, at least the artist's private life... Then it’s obvious that Varg's magnetism comes, in my opinion, more from the ancient message linked to European pagan spirituality than from his eugenic or anthropological "theories." That said, I reaffirm and confirm that 95% of the so-called critics have always dramatically missed the mark both on his works and on their historical value. I remember perfectly when Filosofem was released; it was almost unanimously slammed by those same idiots who today rank it among the masterpieces of the genre! Which genre, then? Burzum is truly out of time and any possible classification; it’s evident to those who grasp his message and can be carried away by his atmosphere.

Among Varg's favorite artists are even The Cure and Dead Can Dance; the guy has culture, much more than just metal for its own sake.

To stay within the musical realm of Burzum, leaving aside the rest so as not to prioritize anything over the music created by Varg, I remember that when the first Burzum LP was released, the critics—at least those seriously engaged with the Norwegian or Scandinavian black metal scene—highlighted it as something raw yet original, as not only did our artist write music and lyrics, but he also played all the instruments himself. This memory takes me back to the distant 1992. Then we return to the Gordian knot of being well-informed about things. If one reads about Burzum on Wikipedia (a respectable summary, but sometimes just a summary of a summary that isn't even accurate...) or relies on hearsay from individuals who didn't even live through that period, one risks getting carried away by ideological battles or cheering for who knows what. With a bit of mild humility, I always try to listen to everything. If I don't like it, that's legitimate. But at the very least, I demand an effort to listen and to judge only after having tried.

Absolutely right, far too often the importance of listening before judging is overlooked. Especially by those pretentious critics, I get it because most of the music I appreciate is hated.

I correct myself, it is hated more by those who have never listened to it, of course if you have and you don't like it that's perfectly fine, no one here wants to pontificate on opinions.

I remember well that Filosofem was reviewed (MH and GZ) with this ending: "and this seems a bit little for the genius of the human being." This and other stories also appeared in the famous "special Norway" issue of GZ from December 1996. Luca Signorelli replied to my letter saying that Varg would be remembered only for his nonsense, never for his Art... Anyway, returning to more serious matters, after 20 years I still turn off the light, let the Jul lantern burn, and turn up the volume. Signorelli has disappeared, the rest is history.

I don't know this "critic" but I recognize that they have a difficult job… just as difficult as staying "cool" in front of the spreading of passive trends that sheepish fools eagerly follow… Burzum represents a concrete antagonism in this regard… could that be the reason for such scathing reviews? Even Napalm Death were slaughtered by negative critiques in their early days… but even then, the critics didn’t understand a damn thing… this also explains why I prefer reading a review on Debaser rather than on various specialized sites… at least here we are not professionals and we don’t owe anything to anyone.

Yes, exactly, journalists (or pen peddlers) always have to answer to those who pay them or to those who direct the various "editorial lines" to which they belong. It's also understandable, but the issue is hitting an artist without remorse simply because they are distant from one's own feelings, resulting in often considerable damage, given that millions of young people (and others) are influenced and influenceable by these figures. As Carmelo Bene used to say, if a critic doesn't also have madness and art on their side, then they are absolutely useless; the medium between me and the work is only helpful when they manage to see beyond the structure, otherwise, it becomes the thoughts of just any Mr. Rossi and, frankly, I couldn’t care less about what my plumber thinks of Burzum! Here it’s actually different, reviews by anyone can fit because they are free and without censorship (I hope), everyone can also choose multiple different reviews of the same album and form an opinion, even though I still believe that the only way to form an idea is to LISTEN. There’s no story with Vikernes; to understand and love this message, one must necessarily love the Spirit that he himself paints, starting from folklore, from ancestral myth, from history and from the Earth. Without this, there's a risk of evaluating riffs, samplers, guitars, melodies, that is, everything that is just a means to try to enter other supersensible dimensions, or, worse yet, to politicize it.

Completely agree.