Metal might well have the most chequered history of any music genre. From the early days of ‘Satanic panic’, to the hideous grotesque nature of Death Metal, to the actual desecration of churches via the infamous Norwegian Black Metal scene. It’s safe to say that the genre has seen, and continues to see a darker side. In that darker side (much like Punk), there has grown political turmoil with certain band exerting views which may or may not be seen in a positive light, depending upon your leanings of course. Then comes the argument of art and artist separation. Is one’s music acceptable to listen to even if you don’t agree with the artists opinions? Doubly so should said art or artist be supported financially through album and merchandise sales if you don’t agree with their outlooks?

Food for thought indeed, but we are not here to discuss politics. No, we are here to talk music, the music of the infamous Black Metal and Dungeon Synth pioneer Varg Vikernes. The solo project has seen many changes in style over the years from the classic Black Metal era and prior to the later DS times of Dauði Baldrs and beyond, which whilst less well received sits highly upon my list of favourite Burzum records. Indeed, it’s the reason I fell in love with DS in the first instance. As the years have passed Burzum’s influence has perhaps dwindled, even to the point of Varg mentioning that the project was essentially over. Yet now we are greeted by Thulêan Mysteries, a sort of compilation of unreleased tracks from Burzum, all of an Ambient nature. The album itself is over 90 minutes long and designed to be used alongside RPGs as a sort of soundtrack, could this be Burzum’s swansong?

First things first, if you don’t like Dungeon Synth then this record sure isn’t for you. The Sacred Well opens proceedings in atypical, haunting RPG fashion, a welcome sound to fans of Burzum’s DS era of the late 90s. There is an added air about this record also which references Sôl Austan, Mâni Vestan due to its higher production values. This sound continues up until Heill Auk Sæll where Spoken Word influence is brought in akin to The Ways Of Yore album. A lot of tracks are relatively short, perhaps a sense of the unfinished style about this record? Even still tracks like The Ettin Stone Heart and The Great Sleep still demand a certain atmosphere. The layout of tracks could also be noted as a little random, but as stand-alone tracks the record is strong and even when played in succession there is still much enjoyment to be derived.

The second half of the album amps up the song lengths, starting with A Forgotten Realm. It’s a long repetitive track, soothing, Folk influenced and still with a sort of Blackened mysterious air about it. Whilst short The Ruins Of Dwarfmount is certainly one for fans of the 90’s DS era of Burzum. It’s a shame that this track isn’t fuller really, and that this sound isn’t utilized more throughout the record. In a similar vein to A Forgotten Realm, The Road To Hel exhibits consistency and repetitive, more modern Ambient/ DS tones, indeed these longer tracks make for a better overall album progression, making the later half of the album arguably stronger. Entering The Dream Land for the final quad of songs we are transported to yet more easy listening DS ambience, laced of course with the lighter Folk notion that gives Burzum that added edge among many other genre pioneers. Within this closing quartet is the epic 15 minute plus The Password. Delicate, hypnotic and Ambient to the very core. It may be similar in sound to prior tracks but it’s the one song which I really feels helps to tie all of the different influences of the record together. Finally, The Loss Of Thulê rounds off the album with its piano melodies, a befitting end to such a long record.

So as said before, if you don’t like Dungeon Synth then don’t bother with this album. The days of Black Metal Burzum appear to be gone. Equally if this is to perhaps be the last effort of Burzum then I feel it’s a suitable one. It comes across very much as unreleased material, but I think it works. Without it being a compilation of sorts it more sets out to offer the listener a final addition to the bands works. This is perhaps an album more for collectors than new fans, but then still it’s a well-rounded representation of DS, and indeed Dark Ambient as genres. You may not like the man but whether you like the music is for you to decide.

(8/10 George Caley)