Burzum – Aske

Burzum - Aske Usually, the earlier works of most metal artists turn out to be the most destructive and vicious of their catalogue. However, these works frequently strive on destruction and singular musical mayhem as a separate entity. It is quite refreshing that Burzum/Varg Vikrenes/Count Grishnack has ignored this norm and effectively combined the debut-time madness with obtrude profundity in Burzum/Aske, the combination of his early official releases. The obliteration and all-out menace is omnipresent, yet Varg chooses to infuse this with his reflective state of mind, with delightful results. Though Burzum/Aske is ruinous to the core, there is no denying that most of the material here is also strikingly serene; in a way, spewing raw madness in a sometimes tranquil manner. Simplicity, characteristically, is the key but song structures defy mundane rationality and endeavor for cryptic complexity, felt deep within. The music itself is planned in such a way that stories are told through sound, backing similar words of Norwegian folklore, mythology, nihilism and seclusion. Production-wise, this 1991 release is very much like any extreme metal debut should be; raw. Fortunately, it is rawness mixed with clarity and a very roomy sound. A lengthy opener under the moniker of Feeble Screams From Forests Unknown immediately attacks with simple metallic riffs that fall into one majestic spacious riff, as drums move from a faster to a more brooding, mid pace. Varg’s vocals are quite perfect for the song, and do justice to the song title; sharp and piercing, yet occasionally distant. The song offers various changes, as if reciting an account, moving from soft, slow and ritualistic to loud, fast and angry. Ever heard a song that makes you think of a moving train? Well, Ea, Lord Of The Depths, certainly will. Containing a train whistle sound at the start, the drums are played exactly like a train hitting wheels against old tracks. The simplistic riff gives this further atmosphere; the image that comes to mind is of Ea and his unstoppable voyage through the depths. Vocals range from absolutely unintelligible to clear screeches of "Ea! Lord of the deeps!". The "moving onwards" feel this piece created using changeless riffing is quite commendable, and makes this simply structured song seem very compound. Spell Of Destruction is a song that defines the "Burzum" sound and what it is all about, and I would recommend it as an ideal introduction to this classic band. Varg’s vocal approach is not only depraved but also unassailable, as if he were a demented, evil wizard casting his spell unto the world. The music plods throughout, and actually comes across as very emotional and thoughtful. The ending is pure atmosphere; bell like backing, and a remote, yet shrill guitar melody blending with frightening screams portraying absolute power. This piece is nothing less than outstanding. Channeling The Power Of Souls Into A New God has Burzum experimenting, for the first time, with clean ambience. Though not as good as "Han Som Reiste" off Det Som Engang Var, this 3 and a half minute piece is still quite nice and airy, but does not raise images pertaining to the song title in me. However, it is a good break from the mayhem before War hits in, a song dedicated to Varg’s favourite band, Bathory (not totally sure about this; read it in an interview at www.burzum.com). "War" is an excellent 80’s sounding, straight forward metal song very similar to early Bathory. A simple thrash riff and angst consumed vocals immediately cause eager headbaging. The cheese factor is present both in the riff and lead, but this bustling song is perfectly placed in the middle of the album. Dig out some early Bathory to see where something like this would come from. A great nod to influence, this. The epic My Journey To The Stars is undoubtedly the best cut off Burzum/Aske. Beautifully layered with a progressive structure, this piece is poignant to the core and takes you on an instinctive mind journey "to the stars". Simple trill-like riffing separated into layers monumentally build up into an almost Swedish-death metal style riff that flows without restraint from one side to the other. The aesthetics of this song are idyllic and pleasing to the ears, and it never loses its melodic feel throughout the various changes within it. The sense of eternal quest is palpable and the song brilliantly moves from build ups to stunning musical releases; quite like a description of a journey, with its obstacles and triumphs. The ending is conclusive and to me Varg has reached his destination, and is maybe "celebrating" with his trademark screams. Just like many others, this Burzum piece also takes constant listening in order to completely understand its depth. The corrosive 3-track Aske section of this album is heavier and louder than the other material, but no less superb. Stemmen Fra Taarnet fades in, forming a riff of malevolent nature, and changing into a beautiful riff with flurries of atmosphere through soft bell-like keyboard use. Varg’s vocals are raw and cold, so the flowing splendor of the music makes for a valuable contrast to the vocals. Dominus Sathanas is a minimalist, slow and melodic piece without vocals (except for a little screech) or drums. It has a haunting, lonely, sometimes romantic feel to it and makes for an excellent introduction to the epic that follows. The almost 11 minute long A Lost Forgotten Sad Spirit effectively sums up one facet of the Burzum philosophy. Hailed as an early classic, which it is, this song trudges through sonic spheres of sadness and depravity, though frankly this isn’t nearly the best epic song Varg has written. However, the boring and plain dire parts are compensated by the constant changes in pace and Varg’s emotional though one-dimensional howling. Towards the end, the bassline creates an irking atmosphere; this is good and the feel is there, but Burzum has developed such ideas better elsewhere in the discography. My main problems with this release come in the form of two fillers, The Crying One and Dungeons Of Darkness. The former only clocks a minute and is an excusable, but unnecessary intro to the mighty "My Journey To The Stars". The latter however is negatively aimless and plainly tiresome, clocking at almost 5 minutes. The piece goes nowhere productive; background ambience with distant noises, much like an awful Abruptum album though without the silly forced howls. I guess the song title is apt, but this does absolutely nothing for me and creates no overwhelming darkness whatsoever, nor does it add to the atmosphere of the album. All in all, Burzum’s debut is incredibly good and contains a handful of classic black metal songs that created a base for many bands to follow. It holds some of Varg’s best lyrical pieces, and as aforementioned, is ravishing and destructive and at the same time dreamy and contemplative. Det Som Engang Var and Filosofem are deeper and more polished, but none can deny the influence and quality of this powerful release. I place this high up in the list of excellent early work by any band, and recommend it as extremely essential for any black metal listener. (4/5)

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