Archive for Burzum

Varg Vikeners Plans to Crowdfund a Lawsuit Against the French Government

Posted in Metal, Misc., News with tags , , , , on 15th August 2013 by izaforestspirit

The Burzum mastermind Varg has asked fans for help to start a lawsuit against the French government for wrongly imprisoning him for attempting to stage a massacre. Vikernes and his wife Marie were arrested at their home last month by French authorities on suspicion of planning a terrorist act.

 photo vark_vikernes_wife_zps4f42489d.jpg

Here’s an extract from the official statement Varg posted in his blog:

We have had the time to think over what happened to us in this «terrorist» case, we have talked about it with others, and we realise that the «French» authorities had no reason to arrest us in the first place. We had done nothing wrong, and they never had any evidence suggesting otherwise. They shot our door open, traumatized our children, threw my pregnant wife and me in holding cells and kept us there for two-three days, placed our scared children in the care of their grand parents, completely messed up our archives with official documents and such, took my USB pens and hard drives, confiscated all our firearms, ammo, many tools, decorative swords, my helmet, two spears, my wife’s flint knives (?) and all sorts of other things too, most of them with great affection value, and they decleared that we no longer had the right to own or possess any type of weapons: everything, all of this for no good reason whatsoever.

To make it worse the grand parents of our children tried to take them away from us. Instead of helping us out in this difficult time, they wrote a letter to a judge and tried to take our children from us, because they don’t like our lifestyle or political-religious ideas. So when we were to get our children back we had to go to court, argue and fight to have a judge tell them to give our children back. Thankfully she did, and of course I may add, but it cost us a lot, both in energy, worry and even money.

When that was over our PayPal account was frozen, apparently because our bank account, in HSBC, was closed – on orders from their HQ in Paris, and – again – without any reason. Not without any valid reason, but without any reason at all. Marie has to open up a new PayPal account connected to another bank account, in order for us to continue to sell the ForeBears DVD and make a living from that.

For the full version and details about the crowdfund click here:
http://thuleanperspective.com/2013/08/07/they-thought-they-were-free/

Anamensi – Descending The Ruins of Aura

Posted in CD, Metal with tags , , , on 30th August 2012 by izaforestspirit

Anamnesi
Descending The Ruins of Aura
Released: September 2012
Atmospheric Black Metal/ Dark Ambient
Released via Naturmacht Productions

‘Descending The Ruins of Aura’ is the second album by the Italian black metal artist Anamnesi. It is the follow up to the band’s self-titled debut released in 2010.

So, after an atmospheric and tranquil keyboard ‘Intro (First Descent)’, we head towards darker territories with ‘Litany of Suffering and Reaction’ treating the listener to some sombre melodies along with rather raw sounding black metal vocals and guitar riffs. Yet there’s a certain eerie beauty linked to this rawness as it contrasts with the melodic elements such as the ambient keyboard part in the second half of the song.

If anything, it’s actually the dark ambient parts on here that make this band stand out. Take ‘Nocturnal Path’ for instance, it’s the little touches like the melodic keyboard tunes and the frosty atmospheric elements which make this instrumental memorable. Then there’s ‘Toward Rebirth’ which reminds me of Burzum at times, though this is less raw and there is a significant difference in the vocal style. One of the album’s main highlights is the tranquil-sounding, ambient ‘Annega La Conscienza’ which features guest vocals from Simulacro’s Xul whose part whispering part screaming style seems to be a perfect fit for this track.

Speaking of Burzum, this album ends with ‘Ciò Che Una volta Era’ – a tribute to the infamous Norwegian black metal project. This is quite possibly the rawest dark ambient track on here and even the vocals sound remarkably different to the other songs.

3.5/5 – There’s beauty in rawness and it goes by the name of Anamensi.

Iza Raittila

Interview: Niklas Kvarforth

Posted in Interview with tags , , , , , on 19th July 2012 by Nico Solheim-Davidson

Niklas Kvarforth is the infamous frontman for Swedish black metal outfit Shining, a band that has been on the scene for fifteen years, facing numerous line-up changes. Niklas has always been at the centre of controversy when it comes to Shining and he discusses all things Shining with Valkyrian Music editor Nico Davidson.

PHOTO COURTESY OF RENATA ‘PIENI’ LINO.

Nico: Hi Niklas. You alright?

Kvarforth: Yep.

N: Right then, you have a new album coming out in October, is there anything you can tell us about it? Like lyrical themes or if it’s going to differ from previous releases?

PHOTO COURTESY OF RENATA ‘PIENI’ LINO.K: Well, one thing that is really strange, for this album anyway, we decided to change producer. There’s also a kind of black metal vibe to it which hasn’t been present on the last album, it’s refreshing in a way, that a lot of people will get both amazed and upset at the same time. I don’t know. I’m looking forward to seeing your reaction to it and I’m looking forward to playing it live.

N: I’m certainly looking forward to hearing the new album. Speaking of Shining releases, you recently released the covers EP, Lots Of Girls Gonna Get Hurt, what gave you the inspiration to do a covers EP?

K: We always record covers, you know, stuff like Depeche Mode covers, and we did six more covers when we were recording the album because I added some I wanted to learn so I use my clean voice. And some of them turned out pretty decent I think, so that’s one of the reasons or the reason that we released it, so our listeners could listen to what we listen to, to show there’s darkness in other things than Mayhem and Burzum.

N: When you released the EP, what was the fans’ reaction to it?

K: I don’t know because my manager made me not have a computer at home because if I do, I just do stupid things, being a self-destructive idiots that I am, sometimes, I start to look up bad rumours about me to get myself upset and get a reason to have a drink. So yeah, I don’t know but from what I heard from other people and the band, it’s gotten a bit of a possibility but there will always be people to complain. In a way, that doesn’t really bother me that much to be perfectly honest.

N: I guess this will be associated with the new album coming out in October, how do you write new material and songs? Do you write the lyrics first and music second or vice versa?

K: I go straight through all the music and lyrics, then I have this method to perfect an album ‘cause often I couldn’t use a guitar because I have a problem with my right arm, so I’m sort of making albums in my head, every single melody and bass line and drum beat and everything. Then if I still had that album in my head, I knew I had to record it, otherwise I’d start all over again. Now, on the other hand, I haven’t been writing the music a lot since I moved from Norway but when I start, I also invite the other members from the band to try and put something to it as well. We also have this new bassist, a very young guy, and me and him went to rent an apartment in Helsinki for a couple of weeks, which was not a very good idea, when it comes to alcohol and other stuff, and we actually managed to write the album and he wrote several riffs for it, which really surprised me. He had the basic ideas in that really impressed me.

N: You’re quite the controversial figure in Shining and obviously the music stands out well enough on its own, so how did the controversial antics at live shows come about?

Photo by Terhi Ylimainen

K: Do you mean why I act like an idiot on stage sometimes?

N: Well that’s one way of putting it.

K: Well, when I write or if I do anything, I guess I want to do it 110% and if that means that I or others get hurt or whatever in the process, then it’s too bad that had to happen but when it comes to it, half heartedly, that’s what people usually do because that’s why they release like five hundred crap metal albums every month and crap labels. You get the picture and it’s nothing that’s ever pre-meditated, I get angry sometimes and being controversial, we had a show in Sweden back in 2007, I’m guessing that’s the show you’re referring, that went on the news and we weren’t able to play live in Sweden because of that. I mean, it wasn’t that extreme. I read a lot of reviews from other, like, high profile magazines but they didn’t write the reviews based on as if they were at the show, they just read stuff on message boards and stuff and started writing their own reviews, pretending that they were there. I don’t know about being controversial but it’s not my intention, at least not in this day and age.

PHOTO COURTESY OF RENATA ‘PIENI’ LINO.

N: Shining’s lyrics deal with suicide and self-harm, is there any reason you write about that specific subject?

K: Well, suicide has proven to be very… Useful for my agenda. I mean, when you get older, you get a bit wiser and you don’t listen to clowns like me who preach that you should, you know, cut yourself open, beat up your sister and rape your mum and dad. Some people, usually kids, get affected by this, suicide and depression and emotions in general. It’s a very easy thing to take advantage of ‘cause when you’re young, you’re always very vulnerable and, as you know, you always seek answers and start searching, so it’s pretty easy. So, that’s the reason why the suicidal theme are there.

Photo by Terhi Ylimainen

N: You’ve guest appeared on several albums in the past and several musicians have guest appeared on Shining albums, how do you choose which musicians and bands to work with?

K: I have these really grand contrary things, being an eccentric megaloegomaniac like I am, so I aim to get Rihanna on an album but I might not work out with Rihanna even though I’d really like it to, so I have to go with things people might not expect. It’s just like that I like guitar solos so it’s then combining it with Peter’s or Rob from Anthrax, who also makes a solo on the new album. We just sit down and discuss it and usually other people in the band think I’m idiot because of my will, to let’s say, use different markets that they really don’t want to use but at the end of the day, I’m boss so…

N: Yeah. Right, as the main songwriter of Shining, what would you say is the song that defines the band as a whole?

K: Hmm… That’s very, very, very hard to say because… Each song has a memory to it. I think Claws of Perdition would be the one, I guess, although I haven’t written the lyrics for that.

PHOTO COURTESY OF RENATA ‘PIENI’ LINO.

N: Going back to what we were discussing about live shows earlier, how do you prepare yourself to go on stage and perform?

K: Usually through meditation, to get the bad images out but it easier to stay hidden if I’m already extremely pissed off and arrive with the commute, seeing the promoters and getting the bad wine and women who wear stockings, that’s awful. There’s always something that can disgust you. Dry mouth for example, if it’s paper. You know, I really like paper, I like the smell of it, the feel of it. But I don’t like it when the corners are, you know what I mean.

PHOTO COURTESY OF RENATA ‘PIENI’ LINO.N: Yeah. Last question now. Anyway, in a career spanning 15 years, you’ve already conquered so much with Shining and the other projects you’ve been apart of. Do you feel that you can further as a musician? You know, what do you see as your next mountain to climb?

K: There’s always a mountain to climb and you always have to aim higher, my philosophy is to be do something better than the thing before, so if I got to a point where I couldn’t bring anything new to the table then it would be completely useless for me to make music then I focus on something else. But I think I can do something like another six albums.

N: Let’s hope so! Alright, thanks for your time, Niklas.

K: Thank you for the interview.

N: You’re welcome, hope you have a great day.

ALL PHOTOGRAPHY COURTESY OF RENATA ‘PIENI’ LINO AND TERHI YLIMAINEN.

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
Don’t forget to check out Valkyrian Music on Facebook & Twitter for more updates:
http://facebook.com/ValkyrianMusichttp://twitter.com/ValkyrianMusic
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =

Wolfthorn – The Cold Descent of Eternal Winter

Posted in CD, Metal with tags , , , on 9th March 2012 by Nico Solheim-Davidson

Band: Wolfthorn
Album: The Cold Descent of Eternal Winter
Release Date: 2012
Genre: True Lancastrian Black Metal
Label: Captor Records

Hailing from the darkened underground of Lancashire, come the black metal warriors that are Wolfthorn. Lyrically, they take influence from good ol’ British folklore and history. The Cold Descent of Eternal Winter is the follow up of the band’s EP Echoes of a Forgotten Past.

In stereotypical black metal fashion, the album opens up with a nice little number called Disciples of Satan. The introduction is the eerie, low howls of the wind, gradually leading to an atmospheric keyboard section and gloomy combination of piano and guitar. The track takes a cruel, unforgiving twist into a fierce use of tremelo picked riffs (least, I believe it to be tremelo picking) and double bass pedals that rings out a certain Gorgoroth accent. The vocals are devilishly tasty, flowing with the music like an endless river. There is a section of the track comprised of painful screams and slower riffs, which doesn’t feel like it should have been on the track, though the low guttural growls do make for a great distraction from the slower riffs. The solo has a slight essence of blues to it which is cleverly hidden by the distortion.

Eilan’s Lament sounds too energetic to be a mournful song, though the vocals do offer up a feeling and sound of bewailing coldness. The riffs are quite repetitive, ringing a certain Burzum feel through the speakers. The track does morph into a snarling beast of aggression towards the end but still lacks the sorrowful sound you’d expect with a song that has the word “lament” in its title. The album is led like a lamb to the slaughter down an atmospheric route in the song Like Leaves Unto The Breeze before a cruel and unforgiving assault of guitars and drums takes you by surprise. Surprisingly, the song takes a slightly melodic twist, though the lyrics do sound a bit hippy with lines such as there was a tree. The vocals and the riffs are extremely diverse compared to the previous two tracks. The everchanging pace and sound of Like Leaves Unto The Breeze helps give the album a very Arthurian feel blended in with hints of Norwegian brutality and British musicianship.

Light The Beltane Fires, which some of you may know from the From The Depths compilation we released last year, smashes through with a barbaric use of riffs and crunchy drums. The vocals offer up a succulent raw sound, keeping an essence of old school black metal in harmony with the more modern sounding riffs. The whispered section makes the song almost Gothesque before it turns into a raging entity once again. Tales from the Ancient Land creates a very archaic sound with the us of acoustic guitars while the heavier, more low-fi sounding guitars provide that much needed metal savagery. Just like one of the previous tracks, this song progresses through several different sounds and paces, being somewhat of an epic. The album comes to its cold, unrelenting end in the form of the title track, The Cold Descent of Eternal Winter, which begins with the solemn combination of piano and guitars before becoming a lycanthropic beast of raging vocals and guitars, with an acute use of bone-breaking drum work. The track finishes with a repining use of piano and the slow, regretful howls of the wintry winds.

One thing is for certain, Wolfthorn aren’t your typical, corpsepaint wearing, leather clad black metal outfit nor the type of black metal band of that try too hard to be “grim” and “kvlt”. The Cold Descent of Eternal Winter is certainly of a different vein when compared to Echoes Of A Forgotten Past and in all honesty, it’s a sound that works. They might not be throwing the heaviest black metal riffs or the most Satanic lyrics but they are producing black metal that’s enjoyable and will stay with you for a long time and The Cold Descent of Eternal Winter is the solid evidence of this.

4/5

Nico Davidson