Varg Vikernes is one of the most important figures in black metal music, there’s no denying this. His music is as vital and resonating some 20-years after his entry into the Norwegian metal underground as it was then. His vehicle of Burzum has been on a hiatus of sorts since 1995, issuing only a couple of albums between his absence from the metal scene. His re-entry last year with Belus and the newest release Fallen sees a Burzum with a definitive step forward in the line of Vikernes’ vision. Politics and unrelated nonsense aside, the Burzum lineage is strong and once more keeping Norway on the map.   

Chris: Varg, first off thanks for your time in talking with us. I have to tell you that while I thought Belus was really a fine effort, Fallen seems to have a much ‘warmer’ feel throughout. It seems as though you still have the knack for putting together albums fairly quickly with little room for nonsense or frills. May I ask how long it took you to complete Fallen? You used Grieghallen Studios again, yes?
 
Varg: Yes, I used Grieghallen again, out of old habit and because I really don't look forward to working in a studio and a technician/engineer I am not familiar with. The recording and mixing itself took about two weeks time, but the music was made between November 2009 and December 2010.

Chris: A track like “Jeg Faller” certainly sounds like the Det Som Engang Var-era of Burzum with a subtle wisp of ambient atmosphere surrounding it. I have read that you are not really mindful of the current ‘phase’ of black metal, but this ambient inclusion seems to be the current trend among the late-comers and cretins that attempt to cash in on the movement. As one of the second wave’s more innovative and recognized influences do you feel that the music of Burzum can (or even should) still educate and influence these newer musicians who are all too formulaic in their efforts? 

Varg: Not sure if I care really. Besides, I don't play black metal, and if you think of Norwegian black metal as “second wave”, suggesting that some thrash metal bands form the 80ies had anything to do with this music style, then I surely never played black metal at all. Ever.

Chris: Until the Light Takes Us had an all-too-brief showing in a theater here in Chicago. I have to say it was one of the more viable and interesting pieces on the movement out there yet. It didn’t seem to rely on the typical sensationalism and third-party rhetoric to tell the story. While I certainly share your opinions of that insipid Lords of Chaos drivel, have you been able to see the finished version of the Until the Light Takes Us and are you happy with the representation of the Norwegian scene and Burzum? It seemed like Aaron Aites and Audrey Ewell seemed to want to get the real story out to the people.

Varg: Unfortunately I have not had the opportunity to see this documentary yet, but from what I understand it is fairly good. It shows just how low-brow most so-called black metallers in Norway are, their stupidity being well represented by morons like the guys from Immortal and Satyricon, and it allows both Fenris and myself to say a few words as well. I wish I had never participated in this film anyhow though, and I don't think I will make that mistake again anytime soon.

Chris: I may be off course with this, but I once read many years ago that you were a fan of techno music and frequented clubs that played the music. I certainly can see the correlation between metal music and certain forms of techno music, especially in drum patterns. Did any of these influences find their way into the early Burzum albums? The drumming in “Ea. Lords of the Depths” can certainly qualify as something along the lines of techno blast beats, at least to my ears.  

Varg: Sure. I used to listen to underground house and techno music until the late hours, and then I went home to make music.

Chris: “Budstikken” is one of my favorite tracks off Fallen. The spoken verses over the walking bass line mixed with harsh vocals are really interesting devices. I know you’re not following much metal these days (unless that’s changed), but there’s yet another silly sub-genre tag called ‘shoegaze’, which is the utilization of atmospheric music heavy on effects pedals and such. There’s some really fine bands using this late 80’s U.K. style in metal now and I can certainly hear some of it in Fallen. Can you tell me what music, from any era or style, is inspiring your music these days? Are you still into Dead Can Dance and the Cure?  

Varg: Yup; I still like The Cure, and I would think I am inspired by them too, but I have not heard about the sub-genre you mentioned, or ever heard any such music. 

Chris: Away from music, have you any plans to publish any more books or writings in the future? I managed to get a first press copy of Vargsmal back in ’96 and only recently found an English transcribed version.  

Varg: Right now I try to have a book about Sorcery and Religion in Ancient Scandinavia published, in English, so we will see what comes of this. Other than that I have no plans for book releases.

Chris: One of the things I’m interested in hearing our views on are the online auction sites. Copies of Aske on vinyl are often going for $1000 U.S.D. on a good day. There’s also numerous bootlegs of the Burzum and Aske CD’s with phony matrix codes all over now raping fans left and right who don’t realize what they’re bidding on. I know some of the back story of the DSP debacle concerning royalties and such, and I’m wondering if you now finally have the rights to your first albums. Didn’t Byelobog Productions just re-release your back catalog with exclusive new artwork?

Varg: I personally own all rights to all my music, and like you said; everything has been re-released by Byelobog Productions with exclusive artwork and some additional information about the individual albums as well.

When it comes to fans buying over-priced albums I can only tell I don't understand why they bother. If they find this worthwhile they are welcome to do so, of course, but I at least don't see the point, but for all we know that's my problem. It's the music that matters, and not the cover, and you find the same music on the re-releases, so... oh, and the Burzum/Aske album re-released features the original “A lost forgotten sad Spirit” from the début album, by the way. The Misanthropy Records version did not. 

Chris: While other people still talk of Oystein Aarseth being the most influential person in the early Norwegian scene, I have always thought Gylvie (Fenriz) did more for the underground metal scene out there than anyone else, and he tirelessly still does. I know your music seems to have different circles these days, but would you consider working with him on a project sometime, be it with Burzum or Darkthrone or even something unrelated?    

Varg: Aarseth was the most influential person in the underground, in the sense that he was seen as the most important figure, but in reality he had no ideas of his own, he did nothing by himself and was more than anything just a puppet under the influence of others, parroting their ideas to the rest of the individuals in the underground.

Yes, Fenris was probably the most important character in the scene, I think for many reasons.

No, I don't think working with Fenris will do anything good to either of us. We are individualists, and we work best alone. Cooperation means compromise, and making compromises is not what we are best known for...

Chris: The cover of Fallen is “Elegy” from the French artist William-Adolphe Bouguereau. His work is nothing short of incredible, with “The Day of the Dead” and “Temptation” being my favorites of his work. It certainly could evoke many impressions and interpretations in the astute fan’s mind. What made you choose such a colorful’ piece for your cover? 

Varg: It was simply the best picture for this album, and I don't care if is colourful or not. The cover of “Filosofem” was colourful too, and I never saw anyone talk about that...

Chris: Varg, thanks very much for your time and answers for us. Best wishes for success in all future endeavors.  

Varg: Thank you for the interest. Best wishes to you too.

Burzum's Varg Vikernes

Interviewer: Chris

March 7, 2011

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TO THE TOP

(Click on Photo to Enlarge)

Formed: 1991
Bergen / Bø  Norway
Label: Byelobog Productions
Genre: Black Metal / Ambient

CURRENT LINE-UP:

Varg Vikernes:
                  Vocals & All Instruments

DISCOGRAPHY:

Demo I (Demo - 1991)
Demo II (Demo - 1991)
Burzum (Demo - 1992)
Burzum (1992)
Aske EP (1993)
Det Som Engang Var (1993)
Hvis Lyset Tar Oss (1994)
Burzum/Aske Best of/Comp. (1995)
Filosofem (1996)
Dunkelheit [Video/VHS] (1996)
Dauði Baldrs (1997)
Hliðskjálf (1999)
Anthology (2008)
Belus (2010)
Fallen (2011)

(Click on Photos to Enlarge)