Since its conceptualisation in the late 1960s - early 70s, Heavy Metal has seen a number of bands spearhead new movements and sub-genres within the genre. From Black Sabbath's original doom-laden riffs, to the New Wave Of British Heavy Metal, the glam and thrash movements in the 80s, right up to today's rap/metal crossovers, new sounds have been coming and going. Black Metal - competing with Death Metal for being the most extreme sound in metal - came into being in 1981 with the release of Venom's debut Welcome To Hell, closely followed by a debut from Bathory.

The genre received a well-publicised rebirth in the early 90s when bands like Emperor, Mayhem, Thorns and, inparticular, Burzum, became hugely popular. The most extreme sounds ever heard were being created, but in the case of Burzum, the extremity was taken above and beyond the music

The Music

In the early days, Count Grischnackh aka Varg Vikernes, the one man behind Burzum, created a variety of songs. Guitar tracks ranging anything from four minutes to double figures, as well as tracks composed entirely on synthesiser (Channelling The Power Of Souls Into A New God is an early example). These songs were marked by raw production, evil riffs and vocals that, according to some, have yet to be 'bettered'. In truth, they are perhaps the most extreme heard in black metal - achieving the forsaken screeches made by Marduk and Dark Funeral, whilst still sounding natural and human. The song War is a good example of this - the introduction has the only coherant (spoken) words, "This is WAR, huh, wow!" before launching into screeches.

Later on, especially with the advent of Filosofem, songs definately became longer by a rule. They were also structered differently. Songs were built around many layers of guitar tracks that blended together to create mesmerising effects, while the rawness of them still bled out. Filosofem was also unique for featuring a different vocal style - comparitively tame industrial-style (Vikernes said this came about when he asked the producer for the worst microphone and headphones he had). It must be noted that Vikernes was imprisoned by the mixing for Filosofem was completed - he has still not heard the finished album.

Varg Vikernes was imprisoned for 21 years in 1993 for arson (40+ church burnings in Norway around this period - 24 linked to Varg) and murder (his friend Euronymous, singer of rival band Mayhem). This story is very long and complicated and forms a fundimental part of the Burzum story, but in the end, Varg released two albums from prison.

These albums, Dies Baldurs and Hlidskjalf, are composed entirely on keyboard and synthesiser. Dropping guitar music altogether (there are conflicting report on whether or not Varg is allowed a guitar in his cell. Word from the man himself says he is, but he simply doesn't play it), Vikernes opted to play an "Aryan" style of music on these albums. The first tells the story of the god Baldur, the second relates each track to a tale from Norse mythlogy. These albums, while a seemingly complete turnaround for Burzum, are definately the most hypnotic, trancing, mesmirising and calming works produced by Vikernes.

Discography

"Burzum" Demo 1 '91 (unreleased)

"Burzum" Demo 2 (unreleased)

Burzum Promo '92 (unreleased)

Burzum (DSP/Misanthropy)

Aske (DSP/Misanthropy)

Det Som En Gang Var (DSP/Misanthropy)

Hvis lyset Tar Oss (Misanthropy)

Filosofem (Misanthropy)

Daudi Baldrs (Misanthropy)

Hlidskjalf (Misanthropy)

This gives the chronological releases of albums. However, recording of these albums, even individual songs, varies so greatly that they bear no relation to the release dates on the albums they are on

Much much much more to follow