Who can deny that ....

[JayKeeley]

I really hope they re-do the "Pyramids of Mars" cover again one day and do it properly this time. That old fuzzy demo only shows the potential of how great it could have really been!

 

[En Vind Av Sorg]

Best cover ever is ofcourse Sigrblot - Commie Scum though.

That is such a badass cover, I've never even heard the original but I love the Sigrblot version.

 

[Vilden]

The original is pretty sucky.

 

[Demilich]

BTW the song is called "Burzum" not "Dunkelheit."/elitist </emoticon>

Until it says "Burzum" as the track title on my copy of the album, it's called "Dunkelheit."

[/practical]

 

[Crimson Velvet]

I think The Gate of Nanna > Dunkelheit mainly because The Gate of Nanna is a better song, but the Dunkelheit cover rules too.

Woah, easy there, boy! Nothing the crapfest Beherit did will ever be nearly as GODLY as Burzum, but the "Revbiz" version was indeed pretty fucking awesome. I didn't really get my eyes up for it until I saw them live, though, but when I did... huzzah!

I have an mp3 of their show in Ireland which contains said song, by the way, in case someone haven't heard it.

 

[Vilden]

Keep in mind that Drawing Down the Moon was once my favourite album 5 years ago or so.

Feel free to pm me the cover btw.

 

[spaffe]

Don't mean to thread jack, but I can't resist sharing Kroda's eminent cover of Jesu Tod -- total


(will listen to the thread song later )

 

[skeptik]

Until it says "Burzum" as the track title on my copy of the album, it's called "Dunkelheit."

[/practical]

The "Filosofem" ("Philosofem") album: this album contains the first real Burzum track, titled "Dunkelheit" on the album (but the real title of the track is "Burzum". "Dunkelheit" is just the German translation of "Burzum"), that I originally wanted to include on the "Hvis Lyset Tar Oss" album (but the recording was very poor, so I didn't use it). I changed the name to Burzum from Uruk-Hai when I made this song (I think in August 1991). The album is a bit weird, and far from perfect, but it is okay. Unfortunately (?), this is the album that sounds the most like the new Burzum music.

http://www.burzum.org/eng/library/interview02.shtml

I stumbled upon that the other day, and I just thought it was interesting how the song titles have adapted their German translations because (correct me if I'm wrong, but) they are listed on the outside of the CD...it's as if nobody ever opens their CDs and looks at the songs and the lyrics. Being a literature major, I tend the annoyingly analyze such things as the way that these songs have been reinterpreted over time through the lens of another language, to the point where even bands covering the songs from this album have adopted the German translation, and an expository reading of this could just erupt into several pages of dialogue...but I won't do that.

Plus I think Burzum is a cooler name, especially given the context that this is supposed to be the first Burzum song, and its being the eponymous track in a way meaning to embody much of what Varg wanted to represent. Obviously, using a translation other than the Tolkien language removes this layer from the song, which I think is a mild injustice.

But yes, like you said, not at all practical, and I shouldn't care about crap like this.

uke::zombie: hypno:

 

[MFJ]

what?

 

[Krilons Resa]

lmao...so its the same word, different language. whoa.

 

[Demilich]

You guys never knew that?

I was a pretty hardcore Lord of the Rings nerd when I was younger, I used to take out the books on the languages and learn to write in some of that shit. 'Burzum' even shows up in the Dark Speech version of the "One ring to rule them all and in the darkness bind them" line from that poem (guess which word it is )

 

[skeptik]

TBH, if Varg was never introduced to Metal, I'm pretty sure he would've become a LARPer.

 

[Reign in Acai]

Didn't he and the boys from Old Funeral used to play swords in the grim forests of Scandinavia?

 

[skeptik]

I'm not sure if it was the Old Funeral guys, but yes...now I'm going to have to go find that and post it. BRB

edit

What inspired me to make the music itself is kind of weird too. When I was a teenager my RPG friends and I sometimes took some wooden clubs, spears and swords and went into the countryside to fight each other. We had no other purpose than to fight because it was fun, and we didn't try to hurt each other. We never tried to hit the head of our opponents or other "vulnerable" areas (where men's brain is located...), and we didn't use much force. We still sometimes hurt each other by accident, and the fighting never stopped until at least one of us was bleeding, most often from the fingers or knuckles, and one of us had had enough pain for the day.

We fought each other in mainly three different places. One was in the forest, near an old and isolated burial ground for either victims of leprosy, the Spanish influenza or the Black Death, I don't remember exactly. The forest was thick and the terrain rough, and we often fell, or rather rolled, down the sides of small hills, through the underbrush, falling on rotting tree trunks - while trying to avoid the strikes from our foes.

The other place was a forested hill with an ancient horg (a Pagan stone monument) five minutes north-east of where I grew up. It was a deciduous forest, so it was very different from the other (pine) forest we used to fight in, and it was a very atmospheric place. Of course bringing weapons to and fighting in a holy place is in theory not all okay, according to the ancient traditions, but the weapons were made of wood and weren't made to hurt others, so it wasn't that serious after all (they were more like the staffs of wizards than anything else).

The third "battleground" was the ruins of an old monastery three or four minutes south-west of where the guys in Immortal grew up. The monastery was burned down by Vikings in the VIIIth century, as far as I remember. It was the first monastery built in Norway, by the way - and not surprisingly its existence as a monastery was short. The (probably British) monks were cut down or thrown into a nearby bog to drown.

It was always very nice to return home for a warm shower after these fights; sweat, soaked, bruised, often bleeding and with pine needles or leaves in all the clothes (and hair for that sake). It felt like I came home from a real battlefield. Exhausted - and feeling alive.

Now, the locals naturally reacted a bit to our presence. One time I jumped our from the underbrush - after laying in wait to ambush the other guys - and surprised a family who was just taking a walk. I had long hair with bits of moss and pine needles in it, more dark grey or black clothes with grim Death Metal imagery and had a club in my hand, so they weren't too pleased to see me. Because of the risk of encountering "normal" people out enjoying the freedom of Mother Nature, we ended up fighting when the risk of running into "normal" people was minimal. In other words, we waited for the late evenings. We sometimes brought torches or built a bonfire, to be able to see in the darkness, and of course Scandinavian summer-nights are not dark anyhow, and we kept fighting.

I had initially began this game of fighting with some of the RPG-friends, but when I met the guys in Old Funeral (and Amputation) (later Immortal) we too began to do this. This was a social event to us, and during the breaks we talked music, the others planned live shows and we generally inspired each other - before we got home in the middle of the night and made music!

(I can add, that when I was arrested for slaying Euronymous these fights were described as "nocturnal Satanic rituals" by the media, to provide You with an example of just how ridicules and false the media accusations and rumours of "Satanism" are.)

The mood of the forest, the mood of the night, the mood of the ancient holy site, the pain from bruises and minor injures, the taste of pine needles, soil and blood, and the smell of burning wood. That was our (or at least my) inspiration. On my way home, after age 17, when I exchanged my noisy moped with a car, I played music loud on the car-stereo and often took long drives through deep valleys and forests in the night, and through the town or rural areas, before I finally went home. The monotonous sound of the car engine and the music playing loud on the car-stereo was mesmerizing, and of course I was influences by endorphins too, as my body was fighting the pain of the bruises and other injuries. This was some positive "darkness" in our world of "light" - and it inspired and made me feel alive.