Home Features Remembering the Sound, Legacy and Controversy of Burzum’s ‘Filosofem’

Remembering the Sound, Legacy and Controversy of Burzum’s ‘Filosofem’

Explore the legacy, controversy and cultural impact of ‘Filosofem’, Burzum’s groundbreaking 1996 album blending raw black metal and dark ambient.

Daniel de Jongh

January 9, 2025

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Nearly three decades ago, an album emerged that would leave an indelible mark on black metal and beyond. Released 29 years ago (on 1 January, 1996), Filosofem stands as a deeply influential yet controversial work, cementing its legacy in black metal history.

Recorded in March 1993 but not released until January 1996, Filosofem was the fourth studio album from Burzum. It also marked the final recording before its creator, Varg Vikernes, was imprisoned for the murder of Øystein Aarseth (Euronymous) and for a series of arson attacks on churches.

Musically, the album is a distinctive blend of raw black metal and dark ambient elements. Its hypnotic, atmospheric sound broke away from the conventions of the second wave of black metal, employing lo-fi production and repetitive, trance-like structures to create a desolate and introspective listening experience. Recorded with minimal equipment, the rawness of the production adds to the sense of isolation and detachment, contributing to the “deeply narcotic effect” that has become emblematic of Burzum’s sound, elevating the album’s stark emotional depth.

Over time, the album’s singular sound has had a profound influence, inspiring numerous black metal and adjacent acts across various subgenres. Bands like Wolves in the Throne Room have embraced its atmospheric and transcendental elements, while projects like Xasthur and Leviathan have drawn from its depressive and lo-fi aesthetic. Other influences extend to Alcest and Deafheaven in the realm of post-black metal, Mortiis and Old Tower in dungeon synth, and even Paysage d’Hiver’s ambient black metal. The album’s reach continues to expand, touching everything from folk-inspired works by Drudkh to the black noise of Gnaw Their Tongues. Notably, Burzum’s dark ambient track “Rundtgåing av den transcendentale egenhetens støtte” was featured on the soundtrack for Gummo, further solidifying its cultural significance within and beyond the metal community.

The academic paper, Violence against the Self in Depressive Suicidal Black Metal, discusses how both Xasthur and Leviathan exemplify the characteristics of depressive suicidal black metal (DSBM) that were influenced by Burzum’s Filosofem. It notes their use of lo-fi production and themes of alienation and despair, which align closely with the emotional depth found in Filosofem.

The album’s impact extends beyond its musicality, capturing themes of despair, isolation, and existential reflection. Its emotional core is embedded in the minimalist structures and haunting melodies, which create an immersive atmosphere that resonates with listeners on a deep, introspective level.

However, Varg Vikerness remains a polarizing figure. Vikernes has sparked significant controversy with his outspoken views on race, religion, and politics, drawing widespread criticism and igniting debate within and beyond the black metal community.

One of the album’s most iconic tracks, “Dunkelheit,” was accompanied by a music video that gained airtime on MTV and VH1, an uncommon achievement for black metal at the time.

Adding to its mystique, the album’s artwork features a piece by 19th-century German artist Theodor Kittelsen. The chosen work, Op under Fjeldet toner en Lur (“Up in the Hills a Clarion Call Rings Out”), is deeply rooted in Norwegian folklore. Its haunting, atmospheric quality complements the music, enhancing the album’s evocative and otherworldly aura. Beyond Filosofem, Theodor Kittelsen is the artist behind the artwork for other Burzum releases including Hvis Lyset Tar Oss and Thulean Mysteries.