Once imprisoned, Varg lost access to all instruments but a keyboard and so it was that his next release was an ambient album entitled Dau
A flyer for 1993’s Aske EP, featuring the burnt remains of Fantoft Stave Church, one of the few church arsons for which Varg was not found guilty.
Often using the Germanic pen name Hofding Warge, he instead concentrated on his ideological writings. The Filosofem CD had already included the postal address for the National Heathen Front, a group primarily concerned with race and ecology, and Varg was now increasingly outspoken about his Odinism and extreme right-wing/race-related views, which he not only espoused in his book Vargsmål, but in the journal Filosofem. Swastikas now appeared in the borders of his written correspondence, and he was famously quoted claiming that looking into brown eyes was like “looking up an arsehole.” Misanthropy meanwhile released a Burzum shirt with a totenkopf (the SS skull and crossbones) urging the reader to support their local Einsatzkommando (a term used to describe the killing squads in occupied territories of Nazi Germany whose targets were Jews, communists, and other ideological enemies). Varg became something of a figurehead for the right-wing music scene, with leading far-right label Resistance Records even buying Cymophane. While some didn’t care for the man’s politics, many were disappointed by statements that suggested that any future recordings would remain clear of black metal due to Varg’s disdain for the genre and “negro” instruments.
But when released from prison in 2009—after a highly publicized escape attempt in 2003 in which he was reportedly captured in a stolen car full of weapons and equipment from a military barracks (though he denies possession of any weapons)—Varg in fact quickly returned to making metal with Burzum, beginning with the 2010 Belus album. Originally given the delicate title “The White God,” the statement that accompanied its release proved Varg was in no mood for diplomacy.
“I am no friend of the modern so-called Black Metal culture. It is a tasteless, lowbrow parody of Norwegian so-called Black Metal anno 1991–1992, and if it was up to me it would meet its dishonorable end as soon as possible. However, rather than abandon my own music, only because others have soiled its name by claiming to have something in common with it, I will stick to it. The ‘black metallers’ will probably continue to ‘get loaded,’ ‘get high,’ and in all other manners to behave like the stereotypical Negro; they will probably continue to get foreign tribal tattoos, dress, walk, talk, look, and act like homosexuals, and so forth. Some of the ‘black metallers,’ their fans and accomplices will probably even continue to pretend—and actually believe—they have something in common with Burzum, but let me assure you; they don’t.”
There’s no doubt that Varg’s statements in magazines (and on his website, which even relatively recently mentions “negroes and other inferior races”) have long been politically charged, yet unlike most similarly minded artists his views have never found their way into his music. In fact, perhaps paradoxically, Burzum’s huge popularity suggests that Varg has managed to tap into something truly universal. Though the post-prison albums (which include 2011’s Fallen and 2012’s Umskiptar) have not proven quite as significant as those recorded prior to his incarceration, Burzum remains hugely popular with a wide array of listeners, including those who completely disregard Varg’s politics and worldview, which now seems to eschew the Odinist faith of his early prison years for what he calls a non-religious paganism.
“My guess would be a common feeling of despair,” Varg explained in my 2010 Metal Hammer interview, when asked why he thought his music resonates with so many people. “And perhaps we also share the feeling of being alienated and even ostracized in a world that used to be ours, but isn’t any more. Or perhaps it’s simply because I am untrained and from a different musical background (classical), and because of that make music that is slightly different from the music made by those who are trained and hail from a traditional metal background. It might also be because I do everything myself, and therefore [the music] is less compromising. I really don’t know. I am happy if others like my music, but I don’t spend much time figuring out exactly why they do.”
Whatever the reason, countless new black metal bands continue to appear with a clearly audible Burzum influence. In fact, along with Darkthrone, Burzum has proved arguably the most directly influential outfit in the genre and it’s no exaggeration to say that a vast proportion of groups in today’s scene simply would not sound the way they do if it were not for this eternally contentious outfit.
Mantas, Cronos and Abaddon of Venom enjoy the high life: “Venom are rich—very rich” lied the accompanying press statement—in fact, most of the band’s income was spent on pyrotechnics. Photo courtesy of Spinefarm.
The circle is closed as Cronos and Venom perform at Norwegian black metal festival Hole In The Sky in 2010. Photo: Ester Segarra.
Into the coven: King Diamond of Mercyful Fate live in New York, December 1984.
Photo: Frank White.
A Swedish man in New York: Quorthon of Bathory visits America in 1987. Photo: Debra Trebitz/Frank White Photo Agency.
Hellhammer’s Steve Warrior shows off his punk roots with an Exploited T-shirt, January 1983.
Photo: Martin Kyburz.
A phoenix from the ashes: Thomas Fischer/Tom G. Warrior in November 1984, not long after Hellhammer had ceased to be and Celtic Frost had risen to take their place. Photo: Martin Kyburz.
Hellhammer in the Grave Hill bunker early 1984: Martin Eric Ain, Bruce Day and Thomas Fischer/Satanic Slaughter. Photo: Martin Kyburz.
Celtic Frost during the To Mega Therion era: Reed St. Mark, Thomas Fischer/Tom G. Warrior and Dominic Steiner. Photo courtesy of Thomas Fischer.
Arguably Brazil’s first extreme metal band, Vulcano, pictured in 1987.
Photo courtesy of Zhema Rodero.
Blasphemy guitarist Caller of the Storms appearing in London on the Fuck Christ tour, 1993.
Photo: Nihil Archives.
Nocturnal Grave Desecrator and Black Winds, still smashing audiences today.
Photo courtesy of Ryan Förster.
A flyer for Switzerland’s Samael circa 1991’s Worship Him album with Masmiseîm, Xytras and Vorphalack.
Samael, older and wiser in 2011: Xytras, Mas, Vorph and Makro.
Photo courtesy of Century Media Records.
Rotting Christ during the Non Serviam sessions, 1994: Magus Wampyr Daoloth, Mutilator, Necromayhem and Themis Tolis. Photo courtesy of Sakis Tolis.
Keeping the black flame alive: Sakis and Themis Tolis, founding members of Rotting Christ, pictured in 2013. Photo: Ester Segarra.
VON: Goat and Kill backstage in 1991. The elusive drummer Snake, as ever, sadly out of shot.
VON’s short-lived reunion lineup in London, 2010: Blood, Goat, Venien and J. Giblet G.
Photo: Dayal Patterson.
Master’s Hammer in 2012 circa the Vracejte konve na místo album: Joe Harper, Jan Kapák, František “Franz” Štorm and Necrocock. Photo courtesy of František “Franz” Štorm.
Funeral fog: Nuclear Holocausto performs at an early Beherit show.
The one and only Nuclear Holocausto strikes an iconic pose.
The second issue of Damage Inc. fanzine, 1987, created by a young Sven-Erik “Maniac” Kristiansen, pictured here. Image courtesy of Maniac.
A previously unpublished lineup photo circa Deathcrush recently discovered by Maniac: Manheim, Maniac, Euronymous and Necrobutcher.
Another previously unpublished photo from the Deathcrush recordings: Maniac and Necrobutcher.
Previously unpublished photo from the Deathcrush recordings: Euronymous and Maniac.
Photo courtesy of Maniac.
The ‘classic’ Mayhem lineup: Hellhammer, Dead, Euronymous and Necrobutcher.
Photo courtesy of Nihil Archives.
The man who introduced corpsepaint to black metal: Dead of Morbid/Mayhem poses for what has become one of black metal’s best-known photos. Photo courtesy of Nihil Archives.
Another early-nineties Mayhem promo: Euronymous, Necrobutcher and Dead—again, at this time only Dead wore corpsepaint in the band.
“We lit the fires”—The infamous cover story in Bergens Tidende which saw Varg Vikernes talking about the church arsons and the unsolved Lillehammer murder.
In Memoriam: Dead and Euronymous, two of black metal’s most significant figures, and ones whose influence still reverberates today. Photo courtesy of Nihil Archives.
Inside the Helvete store: Euronymous with friends Jannicke Langård and Bård “Faust” Eithun, who also worked at the store. Photo courtesy of Jannicke Langård.
Unholy allegiance: Varg and Euronymous in “happier” times. Photo courtesy of Nihil Archives.
One of the most timeless images taken of Euronymous which appeared in fanzines and, eventually, the Nordic Metal: A Tribute to Euronymous album.
One of the genre’s most important musicians and a man whose distinctive guitar style spread like wildfire throughout the genre: Snorre Ruch of Stigma Diabolicum/Thorns. Photo: Peter Beste.
Darkthrone’s Fenriz summons the spirit of black metal in an early nineties promo shot.
Varg Vikernes of Burzum in Norway, 2010, shortly after his release from prison. Photo: Ester Segarra.
Darkthrone circa the Soulside Journey era: Ted Skjellum (later Nocturno Culto), Ivar Enger (later Zephyrous), Dag Nilsen and Gylve Nagell (then Hank Amarillo, later Fenriz).
Pre-Emperor outfit Embryonic featuring (on the bottom row) a young Samoth and Ihsahn.
They were the black wizards—Emperor in 1993 with Samoth, Faust, Ihsahn and Tchort.
Photo: Nocturnal Art Productions.
Emperor play the UK in 1993: pictured are Ihsahn, Tchort and Samoth. Photo: Nihil Archives.
An early promo photograph of Gehenna in the Norwegian countryside from 1993.
Photograph courtesy of Dolgar.
Last man standing: An archive shot of Ihsahn, who for a time was the only Emperor member not to be incarcerated. Photo: Nocturnal Art Productions.
Gehenna in 1995: Dolgar, Sanrabb, Sarcana, E.N. Death and Dirge Rep. Photo: Nihil Archives.
Gorgoroth 1994: Hat, Frost, Infernus and Storm.
A live photo of Gorgoroth from 1994 featuring original vocalist Hat and drummer Frost.
Photo: Nihil Archives.
Gaahl fronting Gorgoroth (or, retrospectively, God Seed) at Inferno festival, 2008.
Photo: Ester Segarra.
The past meets the present: Mayhem at Inferno festival in 2010 including a guest appearance by original vocalist Billy Messiah, performing alongside a crucified Attila Csihar. Photo: Ester Segarra.
A very early promo photo of Cradle of Filth: Paul Ryan, Ben Ryan, Daniel Davey, Robin Eaglestone and Paul Allender, with William “Was” Sarginson below. Photo courtesy of Nihil Archives.
A promo photograph of original Dimmu Borgir bassist Brynjard Tristan, taken to promote 1996’s Stormblåst. Photo courtesy of Nihil Archives.
Masters of Disharmony: A backstage shot of Dimmu Borgir’s Silenoz and Shagrath in 2003.
Photo: Ester Segarra.
Black Legions member Lord Aäkon Këëtrëh of Torgeist, Aäkon Këëtrëh and Belkètre in a typically murky portrait photo.
Lord Aäkon Këëtrëh and Vordb Dréagvor Uèzréèvb pose for a Belketre promo photo somewhere in the French woodland where, legend has it, they lived for a time.
The Black Plague fanzine, created in 1995 by the circle’s co-founder Meyhna’ch of Mütiilation.
From The Black Plague: A suitably lo-fi reproduction of Black Legions co-founder Vordb Dréagvor Uèzréèvb of Belkètre, Black Murder, Moëvöt and a multitude of other projects.
The wraiths of Mütiilation: Mordred and Meyhna’ch lurk in the Black Legions castle, 1995.
Black Legions co-founder Meyhna’ch, performing with Hell Militia in 2010. Photo: Hervé Girod.
Marduk live in Oslo, 1994.
B War of Marduk, live in France, 1994. Both photos: Nihil Archives.
Jon Nödtveidt of Dissection conducts a pre-show ritual at Wacken, 2005. Photo: Ester Segarra.
Jon Nödtveidt of Dissection live in Oslo, 1994. Photo: Nihil Archives.
Watain recording the GG Allin song “Fuck Off, We Murder” with producer Tore “Necromorbus” Stjerna. Taken during the initial recording sessions for The Wild Hunt in Finland, 2013. Photo: Dayal Patterson.
Lawless Darkness: Erik Danielsson of Watain, 2011.
“I oppose life, everything that lives and breathes.” Niklas Kvarforth, 2011. Both photos: Ester Segarra.
Controversial NSBM icon Capricornus of Graveland, Infernum and Thor’s Hammer in the mid-nineties, some years before his apparent departure from the scene. Photo courtesy of Nihil Archives.
Do what thou wilt: Nergal of Behemoth in America, 2012. Photo: Ester Segarra.
Original Enslaved drummer Trym live in Oslo, 1994.
Grutle of Enslaved live in Oslo, 1994. Both photos: Nihil Archives.
Erik Lancelot and Garm of Ulver in 1993. The Coil logo on the jacket suggests the band were already taking inspiration from a wide array of sources even at this early point in their career. Photo courtesy of Garm.
The sadly departed Valfar of Windir, pictured in front of the thousand-year-old Stedje Runestone, overlooking the band’s hometown of Sogndal.
Norwegian Gothic: Garm of Ulver in London, 2011. Photo: Ester Segarra.
Negură Bunget in Sarmizegetusa, Romania in 1999. Photo courtesy of Negru.
Negură Bunget in 2002, circa ‘n Crugu Bradului: Sol Faur, Hupogrammos and Negru. Photo courtesy of Negru.
Bearing the infernal flame: A.A. Nemtheanga of Primordial at a show in Dublin, 1994: Photo: Nihil Archives.
A.A. Nemtheanga of Primordial live in London some years later—2010 to be exact. Photo: Dayal Patterson
Fleurety’s Alexander Nordgaren (also ex-Mayhem).
Fleurety in 1996: Ayna B. Johansen, Svein Egil Hatlevik and Alexander Nordgaren. Courtesy of Svein Egil Hatlevik.
“The corpsepaint came from Norway, that’s a hundred percent for sure.” An unused image from Sigh’s 1993 debut Scorn Defeat illustrated the band’s new image. Photo courtesy of Nihil Archives.
Mirai Kawashima, co-founder of Sigh, live in London 1994. Photo: Nihil Archives.
Sax appeal: Dr. Mikannibal of Sigh at Inferno festival, 2007. Photo: Ester Segarra.
Dødheimsgard: Malicious Records flyer for 1995’s Kronet til Konge featuring Aldrahn, Vicotnik and Fenriz.
Clandestine of Dødheimsgard, live at Inferno festival, 2011. Photo: Ester Segarra.
Chemical imbalance: Cerastes of Mysticum in a derelict asylum, 1998. Photo: Nikolai Funke/Fotofunke.
“Cumming all over Europe”: The memorable poster for Mysticum’s 1996 tour with Gehenna and Marduk.
Black Metal: Evolution of the Cult Page 29
