"Fallen" brings a fresh new sound, even a new dimension of Burzum to the listeners. More clean singing vocals, as noticed in "Jeg Faller" and "Valen", a more personal focus in the lyrics, as its declared in the release. At the moment you create more experiments into the music and expand your possibilities, do you consider "Fallen" as a new step in Burzum career (a new musical dimension to be explored), to be continued?
Yes, I think I will continue to try out new approaches and methods when making and recording music, but only when I think this will make the music better, some way or the other. Innovation and change for the sake of innovation and change makes no sense.
It's also written on release that "Fallen" was mastered as classical music. Could you please describe this process of production and mastering? Are being used analog sound devices on the entire process or some software until the final format? Is Pytten also collaborating with you during this phase?
We record analog instruments digitally. The reason it was mastered this way was because we wanted to keep the dynamics of the music. Normal metal masterers often fail to do that, as was the case for "Belus"
, so we did it like this for "Fallen"
Another aspect of Burzum, is the visual element. The covers from all your albums are very different each one, and people tend to associate them to diverse feelings. "Hvis Lyset Tar Oss", transmit misanthropy, cold, solitude; "Filosofem" cover transmit through Kittelsen's artwork, the folk inspired art, the Heathen spirit; while "Fallen" shares a refined moment, classical inspired art, something very delicate and mysterious at the same time. Which factors you considered to be important when choosing this visual concept?
It has to fit the concept of the album. That's it.
Burzum albums always give attention to the introduction and conclusion, providing a cycle, instantaneously making the listener pay attention in the entire album, not only listening to one single track or another. "Fra Verdenstreet" and "Til Hel Og Tilbake Igjen", turn evident this aspect of Burzum music. Do you connect these initial and ending tracks to the idea of the album? Are they defined at the beginning or at the end of composition process?
They are defined at the end of the composition process, and are often at least partially improvised in the studio. This makes them more "in tone" with the feel of the album, and I put much energy and effort into this. The album is supposed to be a complete story, with a beginning and an end – and the end is often just what comes before the beginning, making it a circular story, repeating itself ad infinitum
"Belus" was very commented worldwide, since it was the first release after your time in prison. Can you please comment about your expectation when "Belus" was finished? What did you feel when it was ready to be released?
Well, I felt I had done a good job and that I was satisfied with the result. The mastering took away much of the dynamics of the album, but we never had the time to correct that, so now I am not all happy about it, but when it was recorded and mixed everything was fine. I didn't think too much about how it would be accepted by others. I like d it, and that was all that mattered to me.
You have a visible preference for old equipments when recording. Have you thought at some moment to go deeper into this subject, searching for and using medieval-like instruments in future recordings?
Actually I just use whatever equipment is at hand. The reason I listed the instruments used for this recording in the press release was to make sure I wouldn't get hundreds of e-mails afterwards with questions about which instruments I had used, and so forth. I don't care at all about such things, and only find it annoying when asked about it. Medieval instruments would be fine, if I had access to any...
"Dauði Baldrs" and "Hliðskjálf" are very different albums, still hard for many people to comprehend. Many journalists classified them as the most "avant garde" albums of your career. In spite of being recorded during your time in prison, and of course, into the consequences of such environment, do you plan to revisit the synthesizers and piano, recording some album exclusively with such instruments again?
There are no plans for such a thing, but I might do it some day. Hardly under the name Burzum though.
Have you received invites from other musicians to record after being released? Do you still have contact with Fenriz, Abbath and other guys from the old days?
Yes, many invites, but mostly from foreign musicians – and I am not interested in collaborating with any musicians out there. No, I have no contact with anyone in the Norwegian music scene.
Have you received in any moment of your career, some financial or administrative support from Norwegian government? Its known that some fund exist to support artists in your country. Have you received some contact on this matter during these years, or are you paying everything by yourself?
I have never received anything from the Norwegian government – and I have never asked for anything either, for that sake. Only "politically correct" (i. e. left wing extremist) bands receive support from the Norwegian government, by the way.
Are you satisfied with the way burzum.org is being conducted? Do you control the way contents, layout and statements are published there? I mainly ask this, because burzum.com exists until now. Is there any pending issue with them? Do people from websites like burzum.com get in contact in order to publish articles about you?
The individuals behind burzum.COM are a bunch of Jews who run the site to spread lies about me and to undermine my credibility, and to use my fame/infamy to further their own goals. They purchased the website from the registered owner (I had to register it in some one else's name because I was in prison) without my permission (so in effect they stole it from me) and has ever since refused to close the site down.
Burzum.ORG is the only official Burzum website out there. If it is not on burzum.org it is either false or it will be confirmed on burzum.org very soon.
Any plans to write a new book? Are you into some specific literature now?
No and no. There is no time for this for the moment.
You are considered a great influence in Black Metal, being a mark, being mentioned by hundreds of bands and artists. Do you have any concern today in being still associated with Black Metal music?
It's ridicules, because I have nothing to do with Black Metal. Even "Filosofem"
, recorded in March 1993, was an anti-Black Metal album, the same way as the début album was an anti-Death Metal album.
Do you know something about South America and Brazil? Your art is very known down here, so I would like to know if you receive feedback from these shores.
Yes, I receive much feedback via e-mail, and that is nice, but sorry, I don't know any South American bands at all. I may add that I don't even know any Norwegian bands either, so there is no reason to despair...
How do you describe Burzum for a newcomer, a person who never listened to your music and never read your articles?
It's Heavy Metal music with strong emphasis on atmosphere best enjoyed when alone.
I really would like to thank you for the opportunity of making this interview. It would be fine if I could receive at least some answers, which will be very appreciated by people in Brazil and overseas. Thanks for your patience and let a final message, any statement you would like to send to readers of "Roadie Crew" Magazine.
Thank you very much for your time and interest, Mr. Krieger. Good luck with your magazine. I have no message to your readers other than enjoy the music!
Author: Luciano Krieger (© 2011 "Roadie Crew" Magazine Brasil)