i was listening to Burzum "Hvis Lyset Tar Oss" in the car today.....i figured i'd make a thread and simply state that Burzum is such a great band....even though its only one guy

ahhh dur!

i listened to burzum all day yesterday and today

hmm....no

i never got into burzum. i like black metal, but burzum never did it for me.

Brilliant music.

he's a murdering bastard, but an excellent musician

Hailz to the count

I don't think Varg was so much a good musician, rather a pretty creative guy.

His metal is much more inspired than the gay shit.

That's one of my favorite Burzum albums to begin with. I don't care if he was not technically proficient, his ideas are unmatched.

I'd say he's techinically proficient, just not outstanding as an instrumentalist, that Varg

burzum is a raver

well I personally believe that this is the greatest black metal album to ever exist.

the almighty dark legions review,
On this album Burzum evolves to a simplicity of rhythmic communication under a dark mood suspended in the ambient tones of distorted guitar. Elements of communication are simple recombinations of pieces of scales, balancing a nihilism of equality of tone with a chaotic will to melody, building each song from progressions of simple riffs that emphasize a pulse in their dominant strokes.

The orchestration of the complex linear expression of an idea behind the emotional mood of the aesthetic of the music distinguishes this album from his others; the artist sets a stage and plays out the story that must echo in his own head, that of the slow decay of a dark character into sadness anger and death.

Of four tracks, three are lengthy (11,8, and 15 minute) minimalist epics of driving technoesque beats and strobing guitar that leaves a passage of time resonating with the entirety of the greater phrase which in its own subtle way shares the fundamentals of each component phrase. If you buy into the emotion of art - or avant-garde extremist performance art like black metal - you will fall into these tracks and be shocked awake when their evocative structures unfold and implode, blooming a wistful moment of both realization and emotion, resignation and resistance.
Emergent ideas project and converge merging with a distant reality as these songs articulate their pain; then into the cold of silence the evil Count drops a sparse ambient keyboard piece of ten minutes called Tomhet, absolute minimalism that portrays dark reflections of a dying age. All songs are both painfully simple and intensely complex, and good - and bad - in an enigmatic afterglow of a falling star.