Burzum - Fallen

When a man of that musical/ historical proportions inputs his inspiration in a newly bred piece – this very hap, is a musical event by definition, a report on its own. Following the widely embraced 2010’s Belus, Fallen bears quite the responsibility to aptly succeed its predecessor.

First and foremost, the fact that a follow up is released in that short of a time could very well be worrying. Mr. Vikerness’ productivity though, is unquestionable. Not once has it been that both fans and critics were disappointed. Plus, his slight ‘stray’ during the years in prison – the ambient oriented effigies – were of a high inspirational density. His musical – only! – integration is constant, thus, Fallen was doomed to success. Actually, the album sounds as Belus’ extension in terms of music, aesthetics. The key observations are to be spotted on a three level axis: 1. the guitar sound is raw, quite cleaner perhaps, but vacuous, bald. Actually, the sound is somewhat different than the classical Burzum-esque production. 2. On a further level, a folkish undertone is present, constant, stalking. The album is not to be classified as folk-black metal. However, the folkish accent nips in, totally contributing to the aesthetical shaping. 3. Lastly, the vocal performing: much singing is clean; the alternation between shrieks and the smooth vocals is a highly flammable musical cocktail. On top of that, the clean vocal lines are as catchy as ever, dangerously memorable, and intelligently melodic.

  The 9th studio album by the innovative blackster features an approach reminiscent of the notorious Det Som Engang Var (debut album). Although the songs’ structure does indeed hold the same influence as laid on Belus (e.g. Valen, BudstikkenI), the album, overall, is not harsh or as eerie as Burzum’s trademark traditionally advises. The riffing, naturally, is of the standards established (clever riffage featured in Jeg Faller and Valen; both compositions illustratively exemplify this). Both sound and vocals shoulder quite the weight; as explained by Vikerness himself, “The sound is more dynamic, we mastered the album as if it was classical music and I was more experimental than I was on Belus in all respects”. I guess the differentiated mastering is to blame for the above mentioned somehow changed production. Additionally, catalytic is the role the two ambient tracks serve. Circularly, the album’s prelude and conclusion are ambient music (being in a direct speech with the respective pattern in Filosofem). Especially the outro, offers ambience as large as ever (Til Hel og tilbake igjen). As for Fra Verdenstreet, this is the album’s most emotional composition, probably. Lyrically, the concept deals with existential matters, with continuous mythological implants popping up, as stated by Vikerness (the lyrics are in the Norwegian language). Lastly, the cover’s impressive painting seems as if in direct communication with the album’s content. Both the eidolon/ image, and the colors used, neatly depict Fallen’s essence, an essence of medieval inspiration, brought forth, transliterated into today’s speech.

All in all, Fallen is an album of confidence, a confidence as bred by the riffing intelligence, the arrogant vocals. This is yet another success for Burzum, the least. The release is fresh, traditional yet synchronous. Plus, its target group is certainly not the diehard black metal fans. The smooth ambience/ aesthetical result easily render this a pleasurable listening. As for the title – “Fallen”? Humph, what an ironic one. Try “continuously rising”, or something of similarity (so not ‘fallen’) instead.

Tracklist:
Fra Verdenstreet
Jeg Faller
Valen
Vanvidd
Enhver Til Sitt
Budstikken
Til Hel Og Tilbake Igjen

8/10 Stelios(Ω)