Burzum

[Novaliis]

Sad sam probao da posetim http://www.burzum.org/ i nije hteo da mi otvori sajt..nije valjda da su ga ukinuli/zatvorili ili nesto slicno?

Edited July 9, 2006 by Varg

[militant]

'Ladno ne radi. Ne verujem da su ga ukinuli (sto bi?), verovatno imaju tehnickih problema.

[Novaliis]

Heh, proradio je..

[Novaliis]

Do sledecih vesti..malo o Burzumu:

 

Burzum

 

In a search for what black metal would become it became necessary to find out what it meant, and that leads us to a category of black metal bands who are "the conceptualizers," most notably, Burzum, Darkthrone and Immortal. However, it is only Burzum who exceeded the epic with the majestic in terrifyingly abstract and emotional music.

 

Created to "stimulate the fantasy of mortals," the music of Burzum is vengeance of chaos against the propagation of administrative and technological models for human existence, ideas which demand allegiance to rules and "morality," or the wisdom of mercy and social compromise as seen by Judeo-Christian technocratic society. Thrusting his fist in the face of that evident death-worship, Grishnack enfolds the rejected darkness in the lucidity of structure in the most forebodingly empty and threatening views of the world.

 

Total nihilism reduces its belief in inherent nothing to nothingness and from that builds to absolutist ideologies which avoid the emptines discovered; Burzum carries this passion in music and lyrics as well as artistic conception and presentation. The includes the darkly organic Pagan neo-Nazi post-Nietzschean philosophies which Varg spouts in fragments to a barely credible and barely listening press. He envisions his ideology and music as a continuation of Nazi Germany in the 1940s as a pagan revolution against Jewish and Christian (Judeo-Christian, including Islam) influence, notably "morality," against which not only Nietzsche but other influential thinkers have railed (Burroughs, Schopenhauer, Wittgenstein, Pound, Shaw).

 

While unorthodox to the tastes of the public, these political beliefs must be understood for the complex ideological system they express at the approach of the demise of a materialist civilization. In postmodernist thought, we learned that our society operates with a justified "text" of ostensible motivation, and a submlimated "subtext" of desires and natural passions. As society continues to crumble toward moralism in the midst of self-destruction, newer thinkers look away from Judeo-Christianity and Liberalism toward older modes of thought which valued the place of all of humanity in nature before the "moral worth" of the individual.

 

For more information on the Judeo-Christian basis to materialist civilization in the twentieth century, read Friedrich Nietzsche's "Genealogy of Morals," sections 7-10 (describes the virus of Judaism and Christianity as a cult of psychological dependency and need, resulting in sublimated sado-masochistic power-obedience behavior) or Vaclav Havel's "Power of the Powerless." Also, to understand Vikernes, it is useful to study Northern European culture in its origins from Asia to India, and its history as an independent and noble community that used naturalistic values for the basis of its social structure, in dramatic opposition to the materialist culture to come with the rise of Jewish and Christian immigrants to Europe.

 

Long before the first Christian appeared in a misty fjord, the Norwegian people had a socialist approach to family, an open and fearless society, a hierarchy of metaphorically symbolic gods, and a world-exploring culture. Their trading partners were mutually considered equals, and their women had more freedom than in any other society on earth. Their values reflected the least of Nietzschean "clever" or "lower" materialist values and the highest of materialist-transcendent "noble" or "warrior" values. During the occupation, Northern Europeans have modified capitalism/socialism and Christianity to their most benevolent forms ever while maintaining one of the nicest places to live in the world with the least hypocritical and vengeful moralistic influence of the civilized nations. European society has suffered its 1,000 years of Christianity and as pro-Judeo-Christian influences in politics and media build in America and the island England, desire for separatism and neutrality is on the rise.

 

As a result, Burzum stays controversial: not answered, not rebutted, not forgotten and not even carried on. This work is simply enduring as both music and ideological impact of emotion and action.

[militant]

Odakle ti ovaj tekst? Mislim da ovaj nisam citao.

 

Evo ti jos jedan, davno sam ga nasao, odlican je...mozda imas.

 

 

BURZUM, “The Voice From The Tower” (English translation of “Stemmen Fra Tårnet”)

 

Out of all of the men to ever pick up a guitar and lay down metal tracks, Varg Vikernes is perhaps the most misunderstood and unappreciated of them all. Vikernes is primarily known for two things: the part he played in the killing Øystein Aarseth and the basic outline of his political beliefs. It is really rather depressing that he is more famous for the former rather than the latter, but with the sensationalist jew-controlled media picking and choosing what it is that the public gets to see and hear about racists, this sort of thing must be expected. Some people don’t even know that he was involved with Burzum at all. Therefore, it would be appropriate to discuss the music of Varg Vikernes.

 

When the second generation of black metal exploded (literally and figuratively) in the late 1980s and early 1990s, bands could be generally divided into two categories: those that were extreme-for-extremity’s-sake and those that were abstract-for-abstractness’s-sake. Burzum tended to fall into the latter category, mainly because Vikernes essentially invented that subsection of black metal. At this point it would be correct to point out that the music of Burzum cannot really be considered “black metal” by the normal stylistic definitions. His music was a mixture of classical, romantic, baroque, and traditional European folk. The only things about his music that resembled black metal were the instruments involved and his vocal approach. For my money, Burzum was worlds above and beyond the atypical fast-paced death metal garbage that passed for black metal in those days and still today albums such as Det Som Engang Var and Hvis Lyset Tar Oss remain unrivaled for artistic expression and quality. Burzum is probably the most individualistic band that a person could hope to find. As Varg Vikernes was the sole member of Burzum, he had free reign to write and record whatever he so chose and nobody could argue otherwise. Beyond that, though, Vikernes had an uncanny ability to translate emotion to sound. Seemingly simple songs like Key To The Gate, Black Spell Of Destruction, Når Himmelen Klarner, and still others speak to the Aryan spirit in ways that few songs are able to do so. After his incarceration, Vikernes was given access to a computer, and using that, he wrote and recorded two albums: Daudi Balders and Hlidskjalf. These albums were entirely ambient keyboard works, playing out almost like Wagnerian operas of forgotten myths and knowledge that once was lost but now is found. Not surprisingly, these albums are the very definition of “love it or hate it.” Fans of black metal pretty much hate them; fans of Burzum pretty much love them. Most black metal fans see the albums as pure self-indulgent crap that doesn’t make any sense. Fans of Burzum see these two albums as the natural progression for Vikernes; after all, the notes being played aren’t really that different from something that the man would have written back in 1993. They are just executed differently. In a sense, Burzum and (by extension) Varg Vikernes are full of duality. Here is Vikernes’s explanation of the name “Burzum:” “ ‘Burzum’ means darkness or light, depending upon how you see it, really. If you’re a Christian, it probably means ‘the dark’ and if you’re a pagan it means ‘the light.’”

 

Vikernes seems to enjoy blurring the lines between the concepts of darkness and light. For him, the darkness of the judeo-Christian world is the light. Similarly, the light of the judeo-Christian world is his darkness. However, it must be understood that Vikernes is neither a Satanist nor does he endorse Satanism. He has stated that even as a young man, he was against Satanism, and this is reflected in his song titles. Many critics see this as ex post facto reasoning, saying that he did not discover racism and National Socialism until very recently and that he never used to claim to be a National Socialist or even a racist. These detractors would like to claim that he is merely jumping onto a racist bandwagon that did not exist until around 1998. Quite the opposite is true. As early as 1992, he is on record complaining about niggers and their negative influence upon metal (this occurred during an interview with Bård Eithun). A decade ago, racism was not exactly the greatest and most-followed trend in metal. In fact, left-wing rhetoric and lamentation for the fallen red dragon of the USSR were the most common political attitudes among most casual metalheads. Vikernes is therefore not a trend-hopper but a trendsetter, for better or for worse.

 

Returning to the concept of dark and light, there can be no question that Vikernes has a love for the light and an abhorrence for the dark…on his own terms. For him, the “light” represents all that is good and true about the Aryan and all that is associated with him. Naturally, the “darkness” is what is bad for and alien to the Aryan. The most overwhelming darkness, of course, is judeo-Christianity. He refers to Christianity as “a jewish implant” but avoids the very common “kill the Christians” rhetoric. On this subject, he says:

“I think that’s ridiculous. What’s the logic in that? Why should we kill our own brothers? They’re just temporarily asleep, entranced. We have to say ‘Hey, wake up!’ That’s what we have to do, wake them up from the jewish trance. We don’t have to kill them - that would be killing ourselves, because they are part of us.”

 

To Vikernes (as well as many others) Christianity is a form of thought control forced upon Aryans by the jews as a means of keeping us in line. The tracks of his album Hvis Lyset Tar Oss tell this story quite superbly. Translated, the tracklist reads as follows: what was once (Det Som Engang Var) before the light took us (Hvis Lyset Tar Oss) into the castle of dreams (Inn I Slottet Fra Droemmen) and emptiness (Tomhet). The album represents Vikernes’s desire for us to return to our natural state and reject the “dreams” of Christianity.

 

Following with the duality of Varg Vikernes, one must not forget his name. Ironically, his birth name was Kristian. He changed it to Varg, which is a descendant of the old Germanic word “uargr” meaning “wolf.” Many Germanic names have to do with wolves, as the ancient Teutons revered them as symbols of honor and pride. However, the names that are “honorable” and relate to the wolf are descended from the word “ulf.” The “uragr” word is more ignominious, often used in relation to common criminals. Here again is Vikernes’s dualism in action. By rejecting the traditional meaning of “uargr” and replacing it with the meaning of “ulf,” he is creating another axis between good/evil and light/dark.

 

Vikernes is a devoted naturalist. If it were not for his National Socialist beliefs, many people would consider him a tree-hugger. He despises the pollution of the earth and has a general distaste for all that is not natural, such as homosexuality and jewish morality. He feels that the earth is the beginning and the end. Everything dies, but nature and its processes are eternal. He rejects the humanist doctrine that states that we are above nature and that the entire natural world is subject to the abuse that humanity puts it through. He understands that to abuse nature is to abuse one’s self.

 

The negative aspects of Vikernes’s spirituality have been discussed, so it is now time to cover those aspects that are positively entertained. Vikernes is an Odinist and has been for some time. His detractors claim that he did not discover Odinism until after being put in prison, but there is evidence that he subscribed to at least some Odinist ideas well before his incarceration. The final album from Burzum (Ragnarok) is actually a collection of demos and other unreleased material from Burzum’s past. One track on there is the Håvamål as spoken by Icelandic Odinist Sveinbjorn Beinteinsson. The Håvamål is a traditional prayer to Odin that has been used in the Odinist and Asatru faiths for millennia. Beinteinsson died in 1993, so there is no possible way that this was done after Vikernes is supposed to have jumped on the Odinist bandwagon in the late 1990s.

 

What shall become of Varg Vikernes? He is set for release in 2014 or 2015. Right now, a documentary about him entitled When The Light Took Us is being filmed. Information on this is sparse, but it is supposed to be quite a revealing look at his prison life and is apparently not going to be antagonistic in its portrayal of Vikernes. Some have suggested that Varg will be assassinated after his release. In answer to these rumors, Vikernes laughs but essentially says “bring it on.” He feels that if he is not careful enough to watch his back outside of prison, then he deserves to die for not being intelligent enough. Such is the life of an Aryan.

 

[Novaliis]

Odavde je tekst: LINK

 

E nemam ovaj sto si postavio..bas cu da iscitam.

 

I sad sam se setio da sam ranije ovde postavio link za jedan dobar sajt gde se izmedju ostalog, moze skinuti neki preview video za Hlidskjalf..to cu morati da proverim kako izgleda.

[Novaliis]

Inace ovo su neki delovi najnovijeg intervjua:

 

When do You exactly get out of the prison?

 

My best guess is August 2006, but I don't know for sure. They change the laws and rules all the time so nobody really knows.

 

...

 

I evo sta ZAISTA misli o Slovenima:

 

Question by Sventevith from Kosice, Slovakia: What do You think about Slavonic (Eastern European) nations and their (future) possible place in Europe?

 

The possible place of Easter European nations in Europe? Have the Eastern European nations ever not had a place in Europe? Or perhaps You are talking about the European Union? If You are talking about the EU I can tell that I am very negative to it, and would never advice anybody to join that thoroughly corrupt, extremely bureaucratic, predominately catholic and utterly chaotic union.

 

Well, in any case I am generally positive to the Eastern European nations, both the Slavonic nations as well as the Baltic ones, and I can add that I am far more positive to Eastern Europe than I am to Western and Southern Europe. There is more aboriginal European culture in Lithuania, for instance, than there is in all of Western and Southern Europe all put together.

 

...

 

I know You are much inspired by European and Slavonic folk music. Do You have any plans for composing such music and releasing it in the future? Or maybe have You already had a chance to compose some new material?

 

Well, I have made some new material, but it is not folk music. Nor do I plan to make folk music. I love that type of music, but somehow I don't see any reason to play such music myself. If I do something it has to be something special, something I cannot get from any other band, if You see what I mean? I don't think I have anything to contribute to folk music anyhow, and they do very well without me.

 

This actually touches the problem with Black Metal. If only all these guys playing in the bands had been satisfied by listening to Black Metal instead of having to form their own bands too. Why do everybody have to play themselves? Isn't listening to music enough? If you don't make something that is different from the rest there is no point in making music... or so I think.

 

...

 

Evo sta planira po izlasku:

 

[]What are Your plans for the nearest future? [/i]

 

Apart from the computer programming, translating books and things like that I plan to buy a small farm somewhere in Norway and live there when I get out - in two years time, I guess. By doing that I will have a place where I can write books, make music if I like, enjoy nature, get some peace and quiet and so forth. I like manual labour, so maintaining buildings and stuff like that is really my cup of tea. Live a health life, basically. Nothing special I guess.

 

...

 

Evo sta misli o Burzum albumima..

 

Do you have a favorite Burzum album and would you give your opinion on each of your releases?

 

My favourite Burzum album is probably "Hvis Lyset Tar Oss". Yes, I can give You my opinion on each of the releases I have contributed to...

 

The debut album: the production is a bit thin on this album, and the vocals and high-hat becomes rather annoying at the end of the listening experience. In retrospective there is much I would have done differently when I recorded this album, but all in all I like it. It was very original when it came, in all ways (good and bad).

 

The "Det Som En Gang Var" ("What Once Was") album: as far as I remember the vocals are much better on this album and the sound a bit better, but apart from that it is much like the debut album. The tracks on this album were created at the same time as the tracks on the debut album, so in a sense it is "Part II" of the debut album - something that can be seen on the cover artwork as well.

 

The "Aske" ("Ash" or "Cinder") mini-LP: I wish I had never recorded this mini-LP in the first place, because it is only an mini-LP, and I don't like neither EPs, mini-LPs, "best of" albums, compilations or singles. If it's not a full-length album it's not worth releasing...

 

The "Hvis Lyset Tar Oss" ("If The Light Take Us") album: this is, as I see it, the best Burzum album. It's very "anti-rock star" and - I think - original, consistent and close to what I wanted to achieve when I made and recorded it. This album is the first album I played music, instead of just playing different instruments... I did that on the earlier albums too, but not as successfully as on this album.

 

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.

 

The "Dauði Baldrs" ("The Death Of Baldr") album: the metal versions of a few of the tracks on this album are really cool, so I think I will include at least one of them on the coming album. (The track called "Jesu Død", on the "Filosofem" album, is also a metal version of one of these tracks, by the way.) I am not overly fond of this album, but it is okay. I like at least two of the tracks a lot (the two first, as far as I remember). I once heard a cover version of one of the "Dauði Baldrs" tracks, on some German compilation album, I think, and that was very good... much better than the original. In short, let's just say I prefer the metal version of the tracks on this album oh, and it was recorded in a prison cell, using a normal tape recorder, so the sound is naturally not the best.

 

The "Hliðskjálf" ("Hidden Opening Into Asgarðr" or "Secret Ritual-Site") album: there are at least three tracks on this album that I like a lot, but in general this album is much like "Dauði Baldrs": it was the best I could do in a few months; the time I had to complete each of these albums, before the prison authorities either sent me to another prison (in 1995 ["Dauði Baldrs"]) or prevented me from recording anything more (in 1998 ["Hliðskjálf"]).

 

The Old Funeral, "Devoured Carcass" EP: this was the first music I (on this EP only as a guitarist) ever recorded in a studio, when I was 17 years old. The music on this album is Death Metal and the sound is not very good. As far as I remember it is okay, but the Old Funeral demo tape, from 1988 or 1989, that I didn't contribute to in any way, is much, much better. And I must say that although I made some of the music on this EP, I had nothing to do with the lyrics or cover artwork. ("Devoured Carcass"? Give me a break... It is almost as stupid as the Immortal lyrics...)

 

The Mayhem, "De Mysteriis Dan Sathanas" album: as You might know I played the bass on this album. I am not credited as a bass player on this album simply because Euronymous' parents told Hellhammer that they would stop the album if he tried to release it featuring both their son and me. So Hellhammer told them he re-recorded the bass line himself, which was a lie, and then simply removed my name from the album cover - solely to satisfy Euronymous' parents. (Contrary to popular belief, there has never been any conflict between the Mayhem guys and me, not even after the "inconvenience" with Euronymous.)

 

I once said that this album reeked big time, because the vocals ruined everything, but the truth is that I had only properly heard the vocals on "Freezing Moon" when I said that, and I think "Freezing Moon" reeks big time, but the vocals on the other tracks is perfect. The reason I think "Freezing Moon" reeks is simply that I was used to Dead's vocals and his way of singing, and I never wanted that to change. Attila, the session vocalist for this album, was more concerned about his "artistic integrity", and didn't want to sound just like Dead, so (unfortunately) he wanted to do his own thing.

 

So I think this album is great. It is highly original, not least because of Hellhammer's inventive drumming, and I would say that all that was positive about Euronymous is immortalized by this album. Hellhammer's drumming makes the album special, but so does the guitar riffs, that Euronymous was mostly responsible for (although Hellhammer, Necrobutcher and even I have made some riffs too).

 

I have never even read the lyrics on this album, or seen the album cover, but I still dare say this is one of the few Black Metal releases I think highly off and would actually listen to, if I had the chance. Why on Earth do people even bother listening to other Black Metal albums when they can listen to albums like this one? A good album to me is an album you never grow tired of, and I think this album is such an album.

 

...

 

Malo o smislu zivota..

 

As clichéd and cheesy as this question sounds, what do you believe to be the meaning of life?

 

I love clichéd and cheesy questions...

 

This is as You probably know a rather complicated question, and I don't think there is an answer that is valid to everybody. However, I do believe I can come up with an answer that is valid to all ethnic Europeans. The other races are rejects according to the ancient European religion, so I don't really care about them or what they do or believe in. According to the ancient (European) myths the gods created mankind, and some myths state that they were so disappointed by their creation that they left them, but there is one race that was not a disappointment to them, and that was what we know as Jarl's kin - or Earl's kin, to use his English name. This mysterious Jarl, known from Antiquity as (Proto-Norse/Germanic) EirilaR/Eirilaz, was the youngest son of Heimdallr, and the only son Odinn accepted as worthy of access to Valhall ("the hall of the chosen") in Heaven (Asgarðr).

 

Heimdallr created Jarl's kin because Odinn, the king of the gods, wanted to create an army of men that could help him in the ongoing war against the untamed and destructive forces of chaos. Individuals of Jarl's kin will only be able to assist Odinn if they die, though, because the only way to cross the rainbow bridge and enter Heaven is to die. However, Heimdallr taught Jarl's kin the runes (secrets) of the gods, so that they could actually enter and leave Heaven anytime, even in life. All they needed to do was to be initiated in the Pagan mysteries, and a part of that was to pretend they were dead, or simply disguise themselves - like the Greeks did when they built the Trojan horse to gain access to the city of Troy, or like Cinderella (the initiate) did when she put on a dress to look like a princess to gain access to the king's castle (Asgarðr) and marry the prince (Baldr). The gods taught Jarl's kin how to keep in touch with the gods, so to speak.

 

The other races cannot communicate with the gods, and the least racist theory is that the Europeans are simply those chosen by the gods to communicate their ideas to mankind, but the more likely theory is that the gods only wanted to communicate with Jarl's kin because the others weren't good enough for them. The others were rejects; failed results of the creation. This is also the reason why only the youngest son or daughter in the fairy tales can marry the princess or prince, and the two older siblings are always cruel, stupid, lazy and ugly. Jarl's older brothers are Karl ("free man") and Trell ("thrall"), and the latter is even being described as an ugly, stupid and black-skinned man in the mythology.

 

What we can read from this is that racial purity is alpha-omega, if we want to have a link to the divine realm, because if there are no blonde, fair-skinned and blue- or grey-eyed people left we will never be able to communicate with the gods.

 

Of course all of this is nonsense to people who don't believe in any gods, but I think that all people who have at least some intelligence are able to understand that there is something spiritual that we don't understand or are able to communicate with, and this is what I mean when I say "the gods". The reason we are not able to communicate with the gods is simply that we no longer practice the Pagan religion. We no longer initiate people into the ancient secrets, naturally because Christianity has replaced our religion. Halloween ("hallow-eve") is no longer an initiation ritual, but a silly party for children and others who don't really know what Halloween is really all about, or why they are supposed to dress up as dead creatures. They don't know that the real reason they dress up as ghosts and other dead creatures is to gain access to Heaven (and Hel, that contrary to popular belief is not a bad place); to make the guardians believe they are dead and to make them let the living gain access to in the realms of the dead.

 

All of this is explained in "The Mysteries And Mythology Of Ancient Scandinavia", so I won't elaborate anymore on this here and now.

 

When nobody has gone through the initiation mysteries nobody has any contact with the gods. Therefore nobody knows the meaning of life anymore. We are all just wandering without any goal or purpose on the surface of this planet, because the Judeo-Christian burned the last initiates on great fires in Europe as late as in the XVIIIth century.

 

The gods cannot communicate with us anymore, and they cannot hear our prayers, because the channel between the gods and mankind was broken when Europe was Christianized. That is the reason we are destroying our planet. That is the reason we are mixing races and in effect destroying the European race. That is the reason there is an existential crisis in the modern world, and nobody knows what to think, say, believe or do anymore. Everything is chaos, and the ethnic Europeans are desperately looking for answers everywhere. In Buddhism, in the New Age movement, in materialism, in Hinduism, in drugs, in occultism and even in a ridiculous "religion" like Islam.

 

In the past we had a crude arrow and a crude bow, but at least we had something to aim at. Today our arrow and bow is very nice, golden, expensive, high-tech and fancy, but what good is that when we just fire randomly into the air, hoping we might hit something?

 

The answer can be found - or at least I think I know that the answer can be found - in our own ancient religion; the Paganism of Europe. To know the meaning of life we can simply look to the past, and try to figure out what our Pagan forefathers were doing, because they knew the meaning of life. They organized sport contests, like the Olympic games, to find the man with the best blood, and then they let him marry and impregnate the priestesses. Thus they cultivated a genetically better man. They placed the genetically deficient children in the woods, to be eaten by wolves or to die from thirst, because they knew that the cultivation of a genetically better man was the meaning of life. They knew that the meaning of life was to improve our race and become better: physically, mentally, spiritually, emotionally and in all other conceivable and inconceivable ways become better.

 

And take notice that I say "to improve our race", and not "to improve our species", because the other races are rejects, and there is nothing to improve. They are like old 286 or 386 computers, that cannot be upgraded sufficiently anyhow, so we throw them on the scrap heap instead, like the gods did with the other races, and focus on the newest and best computers instead. We can still use the old computers as typewriters, but the gods didn't create mankind to work as typewriters, so to speak.

 

So the meaning of life is to purify and improve our European race, to (re)create a culture that enables us to improve and be purified, and ultimately to become divine. The meaning of life is to let the homo deus (the divine man) be born in our race, and then to elevate all individuals in our race to this level, so that we can create or be collectively elevated to regnum innocentiae (the realm of innocence), to Asgarðr, and be able to stay there for a change (instead of being reborn all the time, on Earth).

[Wolflord]

Ovo o Slovenima je extra!!!Svaka mu cast!Nisam znao da nas toliko postuje!

 

[Wolflord]

Rekao je da ce biti u stilu ranog Burzuma..to bi bilo super.Najzad mal pravog Black Metala..

Uzeleo sam se prave Black Metal svirke, volim ja Burzumove ambijentale ali ipak se nadam nekom old black-u.Btw. dajte da napravimo neki Burzum party da proslavimo kad puste coveka!

[Novaliis]

Uzeleo sam se prave Black Metal svirke, volim ja Burzumove ambijentale ali ipak se nadam nekom old black-u.Btw. dajte da napravimo neki Burzum party da proslavimo kad puste coveka!

To obavezno!

[VANDALICUM]

Da prvo spalimo koju crkvicu pa da na miru raspalimo rostilj

 

 

[Wolflord]

Da prvo spalimo koju crkvicu pa da na miru raspalimo rostilj

 

 

Sledeci put Ja idem po pivo!!!!

[militant]

Da prvo spalimo koju crkvicu pa da na miru raspalimo rostilj

[VANDALICUM]

 

 

Sledeci put Ja idem po pivo!!!!

 

Ma nek nam Varg samo izadje, a za ostalo cemo lako

[Novaliis]

Samo nek' izadje i neka nas obraduje jednim lepim albumom.

 

Znaci ne mogu da verujem da cu slusati jos jedan Burzum album..to ce biti dan za slavlje, ima da se napijem..

 

Uh, ja pricam kao da je sve sigurno..

[Wolflord]

Mora biti sigurno!!!! SIGURNO JE! Dajte ljudi imajte malo "vere"

Varze nemoj da nas demoralises molim te!Ovo smo svi cekali godinama,pa je red i da docekamo taj "crni" dan!Kao sto Varg kaze ima da se naljoskam i slusam Burzum do panja!

[Novaliis]

Ma samo pokusavam da shvatim zasto je prebacen u Tromso..?

[Black desire]

Mora biti sigurno!!!! SIGURNO JE! Dajte ljudi imajte malo "vere"

Varze nemoj da nas demoralises molim te!Ovo smo svi cekali godinama,pa je red i da docekamo taj "crni" dan!Kao sto Varg kaze ima da se naljoskam i slusam Burzum do panja!

Tako i treba...

Samo kad bi izdao black album....mada ambijent nije los ali...

[SlavicForest]

Samo neka izadje i neka izda sta god hoce, bice savrseno...Takav um ne moze da smisli nesti sto ne valja...

Edited July 17, 2006 by Morgana

[Josif Visarionovič]

Ja cu onda da secem vene kad cujem novi dimmu...glupost

[Wolflord]

Ja cu onda da secem vene kad cujem novi dimmu...glupost

What the Hell are You talking About?

[Novaliis]

Ja cu onda da secem vene kad cujem novi dimmu...glupost

Ajde bezi bre..

[SlavicForest]

Ja cu onda da secem vene kad cujem novi dimmu...glupost

Molim?????

[Feniks .]

Molim?????

[SlavicForest]

Gle sto crce od smeha!

 

A sta je smesno?