All music and lyrics by Varg Vikernes except "Ea, Lord of the Deeps", words taken from the Necronomicon.[2]. Six of the songs were later re-recorded in 2010 and released on the album From the Depths of Darkness , as Varg Vikernes was dissatisfied with some of the original vocals and production. The production is actually pretty great. As one of the most notorious bands in the Norwegian black metal, Burzum emerged from the darkest thoughts of abysmal misanthropist known as Varg Vikernes. The way they’re produced also leaves the cymbals sounding tinny and the snare and toms like drumsticks striking paper bags. While Darkthrone and Immortal had a stronger speed/death metal influence a la Bathory, Hellhammer/Celtic Frost, Burzum focused more on the very simplistic, but atmospheric style. Its music was one of the reasons why I started to listen to extreme metal. "Spell of Destruction" comes to a strange part where there are only guitars and screamed vocals. Traces of this can be found in the blatant plugs to the works of Tolkien, such as the album/project name (meaning "darkness" in the Black Speech of Mordor) and in "The Crying Orc", and, naturally, in the lyrics. The guitar isn't necessarily technical, but he definitely knows how to play the instrument. The mysterious atmosphere of the track is unbelievable. Burzum is quite subtle though, and only multiple listens will reveal everything the music has to offer. The thought of walking down a beaten path in the middle of the night, hearing the whisper of the wind against the trees in the cold comes to my mind vividly. The bass is more aligned with that which was played on the previous song in that it follows more traditional patterns of conforming structure. For example, the dreamy ambient piece “Channeling the Power of Souls into a New God” appears on “Side War” while the thrashy headbanger “War” appears on “Side Winter”. There's also "The Crying Orc", which is less than a minute of simple guitar melodies ringing off into the mists, but the notation here isn't given the time it would need to manifest the listener's sorrow. "Burzum" is a very dark record, everything thanks to the aspects previously mentioned. Whether that facet of him is misguided or not is for none of us to decide since we don’t know him personally nor present when and where any of those events actually took place. Vikernes doesn't exactly use the witchy-type of vocals, strongly influenced by Bathory (Darkthrone, Immortal and others all adopted this). (Note: I wrote this review at the time Burzum/Aske was entered as one release in the archives, and I own only that one. His are torturous and primal but terrifying all at the same time. "Ea, Lord of the Depths" is a poetic song that requires a lot of thinking. I’d say this is the type of release you shouldn't judge after one listen. It sounds much gloomier, than any other track. Wow!” Said vision of dark images, wailing humorless souls, and faces painted in the manner of plague victims flew in the face of current trends and was decidedly provocative. When the album speeds up, the guitars shuffle along competently but feel strangely hollow because the tone is so thin. The opening riff sounds a little like Ea. One who enters the audio market with nothing other than a daring imagination and whatever instruments are on hand. In addition to a rather creepy and dissonant sounding keyboard instrumental in "Channeling The Power Of Souls Into A New God", contrasting with the largely contemplative and restful numbers that were on subsequent albums, many of the riffs contain tuneful tremolo melodies that are very different from the largely thrash infused riffs common to Bathory's 80s offerings and earlier Mayhem works leading up to this point. Count Grishnackh) has never been an aspiring technical wonder; on this album, as on most of the others, he handles all instrumentation as well as composition.

Anyways, his S/T album is pretty standard black metal through and through, so I don’t really have much of a problem with it other than it can get a bit boring after a while. Black Spell Of Destruction (Portugiesisch Übersetzung) Künstler/in: Burzum Lied: Black Spell Of Destruction 3 Übersetzungen Übersetzungen: Griechisch, Portugiesisch, Ungarisch Lyrics to 'Black Spell Of Destruction' by Burzum: Hear my Sword ...in the Making Of my Spell Literally Damkuna, Iftraga I’ve always found it to be one of Burzum’s trademark-like songs in sound. When listening to this album a multitude of ideas come to mind. It’s a dour tour-de-force about death and immortality throughout the lands where Christian imperialism has raped the pride of Norway’s landscapes.
The rest is great. Burzum also features a few ambient excursions, perhaps an unintended prospectus on what was to follow on ensuing efforts, but tasteful enough. Spell Of Destruction: C5: A Lost Forgotten Sad Spirit: C6: Lost Wisdom: C7: Spell Of Destruction: D8: Channeling The Powers Of Souls Into A New God: D9: Feeble Screams From Forests Unknown: D10: My Key To Purgatory: D11: Rite Of Cleansure: D12: A Lost Forgotten Sad Spirit: Burzum Side Hate E1 "Burzum" was a one of the first black metal albums and it was a one of the most specific at that time in Norway. To finish, the last thing I want to praise is the atmosphere. Varg Vikernes, a.k.a. Count Grishnackh came to public notice in the metal world, this guy has garnered more spilt ink in the music press than he will ever deserve over several lifetimes of misadventures. "The Crying Orc" is a rather sad short instrumental, consisting of only guitar.

For a BM album it also has the very reasonable length of about an hour. I don’t totally hate this album, it has some nice riffing in here but Varg doesn’t quite manage to capture that atmosphere that he does with his later works.

Not the case either for "Spell of Destruction's" bleak crawling, or the abrupt shift towards straight, dirty heavy metal that is "War" (with a central riff reminiscent of Destruction's "Curse the Gods", or the bridge of Sabbath's legendary "Symptom of the Universe"). Particularly with the two longer songs on the latter half ("Side Winter"), it doesn't feel like Vikernes made the most of their greater scope. Varg is a well organized musical compositionist. Remorseful instrumentals dot the affair, most especially in the form of “The Crying Orc” and “Channeling The Power Of Souls Into A New God.” The overall feel is one of bleak despair, and it may very well have been in this state that Vikernes future violent urges sprang. The lone wanderer in mist. While every incarnation of Burzum has been about upholding an unfashionable degree of primitivism in the music, there's no denying Vikernes became ever more meticulous in the way he brought about his raw sound. So as the title says, when Varg writes actual songs, and isn't farting around with some ambient bullshit, it's pretty good. This counts for something.
To me, it sounds more original and unique without sacrificing the speed since it preserves the most authentic sound which could rarely be enjoyed by many of unappreciative listeners. “War” conjures up perhaps the album’s most obvious antecedent, Bathory, but only in spirit.

We are now on Side Winter but that doesn’t mean it is time to bundle up and call a temporary ceasefire until spring. Normally, black metal vocals elicit some kind of cold malevolence but throughout this album, everyone's favorite church arsonist yowls hoarsely and tunelessly and sounds like he’s putting his vocal chords through quite a lot of undue stress. 'War' is the most obvious example of this because this, constituting straightforward Bathory (circa 1984) worship where the simplistic rhythm is accompanied by incoherent yelling. He is also known for the slaying of Euronymous, who played with him on Mayhem’s magnum opus, “De Mysterious Dom Sathanas”. Burzum doesn’t yet use as many layers as on later albums (his trademark ‘guitar-drone’), and riffs are very recognizable. There is a combative sense of urgency in the percussion. While this doesn’t make the songs themselves any less excellent, it does put Burzum’s debut a notch or two below its sequels. It is "Spell of Destruction", which is also called "Black Spell of Destruction" because of the fix by Euronymous of Mayhem, whose label originally released "Burzum". The two never really compete with each other, and go well together. One of the first things that someone listening to "Burzum" will notice is the vocals. The well-known cover art for the Aske EP, a burnt church, is used for the CD art.


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