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Released on New Year’s Day of 1996 but recorded in 1993, Burzum’s fourth and, as of yet, final metal album is generally recognized as a classic of the black metal genre, not just within metal circles, but also by the general music-listening population. Its popularity stems from the infamy of its sole member, Varg Vikernes, and its relative accessibility; many of the songs contained on Filosofem are inflicted with elements of shoegaze, industrial, dark ambient, and noise. While this wide array of influences might suggest that Filosofem is a convoluted and challenging listen, it certainly is not (or at least not to too great an extent), due to Varg’s minimalist genius. The songs, all over seven minutes in length, utilize heavy repetition to wondrous effect. From the crashing cymbals and creeping, frosty riffs of “Dunkelheit” to the droning guitars and keyboards of “Gebrechlichkeit II”, Filsofem is a repetitive but constantly changing masterpiece that never loses its focus, despite its focus constantly changing.
Filosofem is very different from Burzum’s earlier albums. Whereas abrupt tempo changes, tremolo-picked riffs, double-bass drum patterns, shrieked vocals, and ambient interludes typified Burzum and Aske, and a more experimental variation of that formula typified Det Som Engang Var and Hvis Lyset Tar Oss, Filosofem forgoes this formula almost entirely, with Varg exchanging his signature high-register shriek for a much lower industrial rasp, and slowing down the speed of the tracks significantly. The exception to this is “Jesus Tod”, the most aggressive track on the album, in which tremolo-riffing and double-bass beats rule the day, though Varg’s new vocal style is still present.
The final three tracks of the album are an even more pronounced departure from Burzum’s traditional sound. The “Gebrechlichkeit” series features Varg using his industrial rasp in a metreless manner over buzzing guitars and solemn keyboards. The penultimate track is an even greater departure; “Rundgang um die transzendentale Säule der Singularität” is completely absent of distortion and percussion. Here Varg opts for a lone keyboard melody backed alternately by a bass guitar and keyboard swells. The calm and contemplative atmosphere of the final three tracks is a sublime contrast to the aggressive and hateful atmosphere of the first three.
Though Varg’s songwriting on Filosofem is top-notch, the true genius of the albums lies in its production. The stereotypical trebly black metal guitar tone is utilized, but the album’s mixing layers the guitars, giving Filosofem a “full” sound complemented by crisp drums and clear keyboards. The production leaves its mark on each track, transforming Filosofem into a musical odyssey that transports us through hate-filled walls of noise and empty voids of space and back again, all in just over an hour.
Overall, Filosofem is a near-perfect album, a masterpiece of black metal, a perfect example of a whole being greater than the sum of its parts. It is an essential listen for anyone who is remotely interested in black metal, and an excellent starting point for someone who is interested in atmospheric or depressive black metal.
Best Songs: "Dunkelheit" and "Erblicket die Töchter des Firmaments"
~Turkeyballs
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