Catégories :
Panier 0

Votre panier est vide

Burzum - Filosofem

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

Filosofem

Burzum

Musique illimitée

Écoutez cet album en haute-qualité dès maintenant dans nos applications

Démarrer ma période d'essai et lancer l'écoute de cet album

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Souscrire

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Téléchargement digital

Choisissez la qualité audio : 

Pour bénéficier de ce tarif, abonnez-vous à Sublime+

Langue disponible : anglais

1996's Filosofem is often hailed as Burzum's finest hour, which is quite ironic for an album filled with musical leftovers. Allegedly composed at different times but recorded simultaneously in March 1993 (hence the unique mix of Norwegian and English lyrics), these sessions were later compiled and released two years into their creator's 15-year incarceration for murder! But, since Burzum mastermind Varg Vikernes notoriously held onto his work for months on end before unleashing it on the public, first time listeners will find that Filosofem‘s overall musical aesthetic is not dissimilar from preceding cornerstones of his career, like Det Som Engang Var and Hvis Lyset Tar Oss. Hauntingly dawdling opener "Burzum" (literally, the first song Vikernes wrote for his fledgling musical project) and, later, the two-part "Gebrechlichkeit" contrast filthy buzz-saw guitars with chirpy electronic melodies, topped with examples of both Vikernes' desolately unemotional narrations and tormented howls (possibly proving that no prisoner this schizophrenic was ever going to feel entirely alone with himself). Striking within their midst is, arguably, the pièce de résistance of Burzum's entire catalog: "Jesu Død" ("Jesus' Death") -- a blastbeat-driven array of layered, treacherous guitar parts -- as hair-raising as it is hypnotic. And in the 25-minute "Rundtgåing av Den Transcendentale Egenhetens Støtte" ("Walking Around the Transendental Pillar of Singularity"), Vikernes assembled his weightiest musical tome -- literally, if not creatively -- since its endlessly repeated electronic patterns (resembling a sparse classical canon) have no metallic quotient whatsoever and therefore weren't for everyone. This does nothing to diminish the fact that all of Filosofem's musical ambitions (including short stories penned for the CD booklet by Vikernes, to frame song meanings) were accomplished almost entirely on first takes, without so much as a studio or even serviceable recording equipment, for that matter. Instead, Varg simply plugged his guitar, fuzz pedal, and in his own words, "the worst possible microphone" he could find, directly into his brother's stereo to achieve the album's distinctively bleak, lo-fi sound. What he achieved was unique, alright, and historic to boot, as Filosofem continues to figure among the most seminal works in black metal history, despite its creator's checkered personal life.
© Eduardo Rivadavia /TiVo

Plus d'informations

Filosofem

Burzum

launch qobuz app J'ai déjà téléchargé Qobuz pour Mac OS Ouvrir

download qobuz app Je n'ai pas encore téléchargé Qobuz pour Mac OS Télécharger l'app

Copier le lien pour partager la page

Vous êtes actuellement en train d’écouter des extraits.

Écoutez plus de 40 millions de titres avec votre abonnement illimité.

Écoutez cet album et plus de 40 millions de titres avec votre abonnement illimité.

1
Dunkelheit
00:07:05

Burzum, MainArtist

(C) 2008 Misanthropy Records (P) 2008 Misanthropy Records

2
Jesus' Tod
00:08:39

Burzum, MainArtist

(C) 2008 Misanthropy Records (P) 2008 Misanthropy Records

3
Erblicket Die Tochter Des Firmaments
00:07:53

Burzum, MainArtist

(C) 2008 Misanthropy Records (P) 2008 Misanthropy Records

4
Gebrechlichkeit I
00:07:53

Burzum, MainArtist

(C) 2008 Misanthropy Records (P) 2008 Misanthropy Records

5
Rundgang Um Die Transzendentale Saule Der Singularitat
00:25:11

Burzum, MainArtist

(C) 2008 Misanthropy Records (P) 2008 Misanthropy Records

6
Gebrechlichkeit II
00:07:52

Burzum, MainArtist

(C) 2008 Misanthropy Records (P) 2008 Misanthropy Records

Descriptif de l'album

1996's Filosofem is often hailed as Burzum's finest hour, which is quite ironic for an album filled with musical leftovers. Allegedly composed at different times but recorded simultaneously in March 1993 (hence the unique mix of Norwegian and English lyrics), these sessions were later compiled and released two years into their creator's 15-year incarceration for murder! But, since Burzum mastermind Varg Vikernes notoriously held onto his work for months on end before unleashing it on the public, first time listeners will find that Filosofem‘s overall musical aesthetic is not dissimilar from preceding cornerstones of his career, like Det Som Engang Var and Hvis Lyset Tar Oss. Hauntingly dawdling opener "Burzum" (literally, the first song Vikernes wrote for his fledgling musical project) and, later, the two-part "Gebrechlichkeit" contrast filthy buzz-saw guitars with chirpy electronic melodies, topped with examples of both Vikernes' desolately unemotional narrations and tormented howls (possibly proving that no prisoner this schizophrenic was ever going to feel entirely alone with himself). Striking within their midst is, arguably, the pièce de résistance of Burzum's entire catalog: "Jesu Død" ("Jesus' Death") -- a blastbeat-driven array of layered, treacherous guitar parts -- as hair-raising as it is hypnotic. And in the 25-minute "Rundtgåing av Den Transcendentale Egenhetens Støtte" ("Walking Around the Transendental Pillar of Singularity"), Vikernes assembled his weightiest musical tome -- literally, if not creatively -- since its endlessly repeated electronic patterns (resembling a sparse classical canon) have no metallic quotient whatsoever and therefore weren't for everyone. This does nothing to diminish the fact that all of Filosofem's musical ambitions (including short stories penned for the CD booklet by Vikernes, to frame song meanings) were accomplished almost entirely on first takes, without so much as a studio or even serviceable recording equipment, for that matter. Instead, Varg simply plugged his guitar, fuzz pedal, and in his own words, "the worst possible microphone" he could find, directly into his brother's stereo to achieve the album's distinctively bleak, lo-fi sound. What he achieved was unique, alright, and historic to boot, as Filosofem continues to figure among the most seminal works in black metal history, despite its creator's checkered personal life.
© Eduardo Rivadavia /TiVo

À propos

Améliorer cette page album

Qobuz logo Pourquoi acheter sur Qobuz ?

Les promotions du moment...
À découvrir également
Par Burzum
Dans la même thématique...
The Ghost of Orion My Dying Bride
RAMMSTEIN Rammstein
Opiate TOOL
Les Grands Angles...
La naissance du death metal suédois

Berceau d’une quantité incalculable de groupes de metal, la Suède s’est illustrée au niveau international au début des années 90 avec l’apparition soudaine d’une scène death metal féconde et dynamique. Petit retour en arrière pour comprendre comment s’est développée cette chapelle musicale et ce qui fait son originalité.

L’âge d’or du death metal américain

Sous-genre sulfureux du metal, souvent rejeté, parodié ou mal interprété, le death metal a néanmoins su conquérir le public au fil des décennies. Apparue dans les années 80, cette musique continue d’évoluer, depuis la recherche de l’ultraviolence des débuts au plus récent métissage avec d’autres genres plus mainstream. Petit retour sur ses origines, avant un second volet qui s’intéressera à la scène suédoise.

Objectif Lune : The Dark Side of the Moon

Album phare dans la discographie de Pink Floyd, “The Dark Side of the Moon” est le fruit d’une élaboration relativement lente qui remonte pratiquement à 1968. “A Saucerful of Secrets” (le morceau phare de l’album éponyme) en est, pour Nick Mason, le point de départ. Derrière, “Ummagumma” laissait s’exprimer des personnalités qu’il allait falloir amalgamer pour décrocher la timbale. Pink Floyd poursuivit sa quête du disque idéal avec “Meddle”, sur lequel le groupe accentuait sa maîtrise du travail du studio, et “Atom Heart Mother”, avant d’atteindre le nirvana avec “The Dark Side of the Moon”, dont la perfection ne s’est jamais érodée quarante-cinq ans après sa sortie.

Dans l'actualité...