The release is presented beautifully by Byelobog Productions, aesthetically speaking continuing the traditions of the past, depicting simple but mysterious nature photography and Gothic script. The title “Belus” referring to the archaic name for the the Norse life / rebirth deity Baldr and continuing the inspiration drawn from Mythology that has become integral to BURZUM releases. These elements suggest that BURZUM was to continue what had started so many years before, however, the music itself does not quite live up to previous efforts. The release was intended as a conceptual journey of Belus through his death, passing through the underworld and finally his return to life. This story is told through both instrumental and Metal compositions that are successful in creating those magical atmospheres that are so recognisable for BURZUM. However, although this is positive and essentially “Belus” comprises of well-written songs, the release is severely let down by the vocal delivery. One of the things that always made BURZUM so haunting and eerie was the inhuman high-pitched screams present. These vocals have now been replaced with a lower, more guttural shriek that really is nothing special and is devoid of any real character. At times there are parts sung in a clean voice and though these parts compliment the tracks, they do little to take the attention away from the main vocals. This is not to say that this is a poor release, far from it, however it would be fair to say that the vocals on “Belus” make this an average release when it had the potential to be outstanding.

Overall there are many positive elements despite the vocal criticism; the hypnotic melodies, sincere approach, effective old school lo-fi production and dark esoteric undertones. “Belus” should be commended for its loyalty to the sensibilities of times past and keeping the flames of nostalgia very much alive.

Fallen is the 9th studio album from Burzum, and follows the highly critically acclaimed 2010 release Belus which put Burzum straight back at the top of the chain as one of the most innovative and creative metal artists of our time. Fallen follows Belus in sound and structure, and can also be compared to the music on the groundbreaking DET SOM ENGANG VAR. Fallen is more dynamic and hard hitting then Belus and has an even bigger sound, but still carries the same trademark melody lines throughout that make Burzum sound so iconic and unique. Burzum says of the new album and his style of music: “Musically FALLEN is like a cross between BELUS and something new, inspired more by the debut album DET SOM ENGANG VAR than by HVIS LYSET TAR OSS or FILOSOFEM. The sound is more dynamic we mastered the album as if it was classical music and I was more experimental than I was on BELUS in all respects. Lyric-wise it is similar to the debut album, in the way that it is more personal and focuses on existential issues, but the mythological undertone known from BELUS is still there. I have also included some ambient tracks – a short introduction and a longer conclusion.”

Limited Edition of 3000 units worldwide on clear vinyl 180 gram

SIDE A
1. Fraverdenstreet (1:03)
2. Jeg Faller (7:50)
3. Valen (9:21)
4. Vanvidd (7:05)
(Total side length – 25:19)

SIDE B
5. Enhver Til Sitt (6:16)
6. Budstikken (10:09)
7. Til Hel Og Tilbake Igjen (Frahel) (5:57)
(Total side length – 22:22)

The initial comparison would be to BURZUM due to the intense and dramatically screamed vocals, however here the similarity ends as the compositions themselves have a far more modern edge. The album itself combines two main contrasting themes; as you would expect there are elements of depression, negativity, loneliness, fear, sadness, alienation. However, there is also an underlying element of hope, personal strength, and confidence that counteracts these dark emotional subjects. Therefore, “Par un Sourire” isn’t one of those albums that will drain all colour and life from everything in the way that the most vehement of Suicidal Black Metal bands tend to; it has a multi-dimensional approach that inspires thought rather than just simply a sense of crushing emptiness. BONJOUR TRISTESSE has more in common with bands such as AUSTERE, ISOLATION, HYPOTHERMIA, WIGRID, AMESOEURS, ANWECH and LIFELOVER for example. There is of course a strong depressive theme present throughout the release, but it is approached from a different angle that relies more upon the re-telling of a story or the communication of ideas as opposed to overt shock tactics used to appeal to the basic human need for negation.

Considering that this is a CD-R demo release, it has a clear and professional sound throughout. The guitar arrangements are atmospheric, with a warm clean tone. The guitars are a similar tone to LIFELOVER or later SHINING whereby there is more focus on the actual songwriting as opposed to murky distortion, and this is no disadvantage as BONJOUR TRISTESSE are skilled at creating narrative through dark passages and melodies. There is also the inclusion of samples that adds to the overall effect of the release, featuring the voice of a depressed, distressed girl speaking in German. BONJOUR TRISTESSE also make good use of double bass drums, which are successful at adding character to the release and also a slightly upbeat, groovy quality that contrasts nicely to the suicidal passages to be heard throughout. “Par un Sourire” has a dualistic quality that holds the attention consistently and always offers interesting stylistic twists and carefully constructed cathartic atmospheres. BONJOUR TRISTESSE have obviously put a great deal of thought and skill into “Par un Sourire” and the rewards are most certainly reaped in this release; the term “relief through release” is an ideal description and well worth experiencing for yourself.

• BYE002CD DET SOM ENGANG VAR
• BYE003CD HVIS LYSET TAR OSS
• BYE004CD BURZUM / ASKE
• BYE005CD FILOSOFEM
• BYE006CD DAUDI BALDRS
• BYE007CD HLIDSKJALF

The first track entitled “Ephaistos” begins with an experimental keyboard piece, before launching into a blistering Black Metal onslaught. Many still frown upon the inclusion of keyboards, but there is always an exception to every rule (and besides which rules were made to be broken). The keyboard highlights add a nightmarish, hallucinogenic quality to the already surreal compositions. The vocals are also a real standout point, combining both low guttural vocals and a high pitched, passionately executed shrieked vocal that at times reminds of BURZUM and early FORGOTTEN WOODS. The guttural vocals are effective in adding a Satanic feel to the tracks and are performed in a similar manner to bands such as TEMPLE OF BAAL (Fra), and perhaps also bringing to mind bands such as AKERCOCKE and GOATLORD (USA) considering the demonic overtones, heavy bass and dualistic vocals. The second track, “Elizabeth” is dedicated to the Blood Countess herself; Elizabeth Bathory and is a worthy ode to her memory. Dark, heavy, weird, twisted and evil…..perfect! The final track “Immortal Horde” is the longest of the three offerings and remains as macabre as you would hope for, leaving a lasting impression with its mind-raping intensity, though this time slightly slower and heavier. The track begins in a way that is surprisingly reminiscent early PARADISE LOST (circa “Lost Paradise”) or even early MY DYING BRIDE (“As the Flower Withers”), crossing genre boundaries from macabre Death/Doom before returning back to Horror-fueled Black Metal. Overall the sound is fast-tempo, bassy, lugubrious and of course cold and grim though not lacking in melody.

One short but sweet 7″EP, only around 10 minutes in duration but with so much to offer! GORGON are well worth checking out for anyone interested in the first wave of Black Metal, or indeed anyone interested in the more eccentric and unconventional realms of the underground.