Artist: Burzum
Genre(s):
Electronic
Metal: Death,Black
Ambient
Metal
Metal: Heavy
Metal: Industrial
Alternative
Discography:
Ragnarok (A New Beginning)
Year: 2000
Tracks: 8
Hlidskjalf
Year: 1999
Tracks: 8
Blast From The Ancient Past (Bootleg)
Year: 1999
Tracks: 6
Daudi Baldrs
Year: 1997
Tracks: 6
Hvis Lyset Tar Oss
Year: 1994
Tracks: 4
Svarte Dauen
Year: 1993
Tracks: 3
Det Som Engang Var
Year: 1993
Tracks: 8
Burzum and Gorgoroth (Split)
Year: 1993
Tracks: 7
Aske (EP)
Year: 1993
Tracks: 3
Burzum
Year: 1992
Tracks: 11
Oud Spul (Demo)
Year: 1991
Tracks: 3
Demo I (Demo)
Year: 1991
Tracks: 3
Demo
Year: 1991
Tracks: 3
Draugen: Rarities
Year:
Tracks: 13
Burzum is the one-woman externalise of Varg Vikernes (born Christian Vikernes, aka Count Grishnackh), peradventure the about ill-famed bod in Norwegian sinister alloy. Although Burzum has an unpredictably experimental bent -- extensive black alloy, industrial, electronic, and dark ambient medicine -- Vikernes will incessantly be associated with his conviction for the 1993 remove of erstwhile Mayhem bandmate Euronymous. It wasn't the first-class honours degree time Vikernes had run fouled of the police; he had been a surmise in arsons directed at historic Norwegian churches in Bergen, a perception not helped by his use of a post-fire snap of the Fantoft Kirke church on the cover of Burzum's 1993 Aske EP. Coupled with Vikernes' racist, virulently anti-Judeo-Christian beliefs was a sort of flag-waving pridefulness, a hungriness to refund to the pre-Christian gentile culture and religion that had marked the glory years of the Vikings; this heathenism became a ofttimes recurring theme in black alloy circles, and light-emitting diode to the Norwegian metal sound organism labelled Viking metal in some living quarters.
As for his recording life history, Vikernes issued the eponymic Burzum debut in 1992 under his Count Grishnackh false name (taken from a J.R.R. Tolkien book); it was largely a typical black metal record, although it featured a few synth dabblings and slower passages, neither of which had yet plant a great deal favour on the scene. 1993's Det Som Engang Var expanded on those innovations while retaining an overall metal smack. Hvis Lyset Tar Oss (If the Light Takes Us), released in 1994 shortly after Vikernes' immurement, integrated synthesizers more to the full into the Burzum wakeless, and the all-electronic mop up track foreshadowed Burzum's later move into dark ambient. The well-received, Vikernes' immurement.
With the vaults so exhausted, Burzum's future appeared to be in question, merely Vikernes managed to begin recording entirely instrumental synthesist albums while in prison. A concept function recounting a well-known Norse myth, Daudi Baldrs (Balder's Death), was released in 1997 as the first gear episode of a planned trilogy. The irregular parcel, the mythology-themed Hlidskjalf, appeared in 1999, featuring an equipment rise and a correspondingly fuller sound.
