"When night falls, she cloaks the world in impenetrable darkness...a chill rises from the soil, and contaminates the air..."

FILOSOFEM is the vision of Burzum driven to its musical and logical limits. Not surprising, since it marks the last album of Vikernes' "metal" period, before the entrance into 100% dark ambient- conceptual/esoteric music with two connected albums.

Following the operatic HVIS LYSETT TAR OSS of 1994, FILOSOFEM includes older compositions mixed with outtakes of the last period before Euronymous' murder and the arrest of Vikernes in late 1993. FILOSOFEM was recorded in a death-like 24 hour permission granted to Vikernes, while he was in prison. The whole series of events around the "inner circle" and the events that marked the Norway scene but also the global black metal underground, the political extensions that Vikernes began to add to his actions (abandoning the "evil"/nihilist view of the ASKE days), all led to a polarization of fans and critics worldwide: people would embrace or reject Burzum based on their stance on Vikernes views.

To put it clearly, I disagree with mostly all of Vikernes' views. And above all I disagree with his actions in the "inner cirlce". Of course, I laugh at those who think of Euronymous as a "saint" (please!). But the act of his murder was hideous, despite of all the arguments Vikernes still has on the issue. Murder is murder, hence unacceptable. But that concerns the whole story around the real thing. And the real thing is the music itself. And the real thing is that albums like DET SOM ENGANG VAR and FILOSOFEM rarely see the light of day.

Especially FILOSOFEM is a shivering epilogue to Burzum's metal days. Still, it can hardly be considered "compatible metal" even for the black metal standards of Norway-- the blastbeat days are over. Even the agressive moments of HVIS LYSETT TAR OSS are limited to the downward attack of the nightmarish "Jesus Tod". Other than that, its a triumph of atmosphere over the sonic wall of Vikernes' guitars. The drum machine sets a monolithic, imposing tempo, the keyboards lurk out like crawling, creepy skeletons. The lyrics, enigmatic, mystical, deeply esoteric, deal with the Hypervorean psyche and the alterations of the human entity through a series of tests: psychological, physical, collective.

Abandoning the satanic mayhem of the first records, Vikernes adopts a more sophisticated approach of the Norse legends, like Quorthon did in his own epic trilogy of the late 80s. Theodor Kittelsen moody art embraces the album's decoration. The narration is in mixed English and Vikernes' native language, so it's tough to decipher all the verses, but for the most part, it is a cold feeling of isolation and deep esoteric melancholy that rises through the music. A haunting feeling of an inner turmoil, cultural references of the High North, the european saga of spiritual decadence, the tyranny of christian religion, the inward oppression, the questions of morality and nobility. Yes, Vikernes is definetely under Nietzche's influence--again, just like Quorthon. Even from a very subjective point of view (who is objective?), and one I personally disagree with. But as far as FILOSOFEM is concerned, Vikernes avoids any political statements openly, so it's fine by me.

The opening drama of "Dunkelheit" is the masterpiece of Burzum's course through the troubled 90s. The absolute black opus of crawling decadence, death and chaotic misery through an eerie narration, distorted vocals followed by a surprising clean-vocal delivery near the end, the keyboards repeating the ominous melody. The definitive soundtrack for the collapsing realities, and the illusions.

"Jesus Tod" is the album's attack-herald. Dragging eightminutes long, relentless drum beats over hellish guitars and an infernal mood. "Erblicket die Tuchter des Firmaments" is slow, moody, eerie, lyrics of mayhem and destruction describing the aftermath of total defeat.

"Gebrelichkeit" is a saga in two parts. The first features distant keyboards over a set of noisy chords and Vikernes' occasional lament, while the second is a no-vocal chaos of effects, loops, disturbing noises and guitar hell. In between, Burzum's most distant, impenetrable moment: "Rundgang um die transzendentale Saule der Singularitat", a song as endless as the title, reaching close to 25 minutes (!), in fact a chain of synth melodies repeating periodically and creating a circle, spinning slowly like a soul-breaking torment which never ends...

To sum it up, you don't have to agree or disagree with Vikernes' statements. All you have to do is, beyond them, to experience his musical statement. If you think there's good music to listen to, then you should go for it. I, for one, have embraced all of Vikernes' albums, because I find the music thrilling, imposing, near-perfect. His other ideas leave me indifferent (if not hostile), but I am not anyone's judge. Beyond good and evil, as the great philosopher said. The reincarnation of all values, the twilight of the idols. The birth of tragedy...The decadence of a kneeling culture..

"suddenly, life has new meaning...."