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I’ve had Burzum’s “Tomhet” stuck in my head after I saw Severed Ways (reviewed here), in which the song figured prominently. Astral and peaceful, it’s an odd bird in Burzum’s ambient works, which tend to be brooding (early period) or martial (late period). The first time I heard “Tomhet”, I thought, “Atmospheric drum ‘n’ bass”.
Burzum – TomhetPFM – Wash Over MePFM – Danny’s Song
For those unfamiliar with atmospheric drum ‘n’ bass, it arose in the early ’90s as an alternative to harder styles of dnb. While it had mashed-up beats like ragga jungle and darkside dnb, it felt oceanic, with lush pads and sparkling melodies. Take away the beats, and you often had gorgeous ambient compositions.
The most gorgeous ones were by PFM. At first a duo, then a single guy, Mike Bolton, PFM made some of dnb’s most cherished tunes, like “One & Only”, “The Western”, and “Love & Happiness”. PFM’s prime was a mere two years (‘95-’96), with a handful of 12″s. After a hiatus, PFM returned in the early ’00s, but never recaptured its early magic.
With dnb beats, “Tomhet” could have been a PFM tune. The match isn’t exact; Varg Vikernes’ gear in prison was probably primitive, and he was more concerned with composition than sound design. His production is dry compared to PFM’s soundscapes. But the feeling is similar: a crisp winter night with a sky full of stars overhead. It’s unlikely that Burzum and PFM knew of each other. Vikernes would hate to be compared to a genre inspired by black music: Detroit techno, jazz fusion, hip-hop, house music. But he and PFM reached similar destinations, just through different paths.
(excuse my poor english)
man,in posts like this you really offer something unique. wandering around different musical sounscapes gave you a special point of view. most of the bloggers are suggesting new stuff and what they consider the next big thing in metal, you should try this less, because you are great in finding similarities in sound and way of thinking in diverse musical genres. there aren’t many people around who can do this. great writings man.
hello from hellas
Damn.
When I saw the title, I thought Vikernes had burned down Pitchfork Media.
i really like the dnb references you make in the blog. i was a metal fan in my teens and about a decade ago got sick of metal due to the abundance of shit coming out. then i got involved in the electronic music scene and became obsessed with dnb for many years. hearing old pfm tracks brings me way back.
Stew – heh, Pitchfork is not a Christian thing!
Anon and zh – thanks for the kind words. “Hello from Hellas” has to be on some postcard somewhere.
I recall reading Varg discussing going out to the dance clubs with the scene girls. All while he was creating what it meant to troo, grim and kvlt.
Nearly any DnB you inflict on this site leaves me wondering exactly how people could enjoy it, mostly the crazy beats that come in after the intro and make up the song throw me off. Guess I don’t go to enough dance clubs.
But this PFM dude/dudes, holy awesome! I’m one of those dudes who likes few electronic artists and mostly Aphex Twin and now I totally see what goes on in his later albums. Hard kinds of techno (especially anything that uses four to the floor) just pound my noggin in but this was the shit.
Don – most older drum ‘n’ bass that’s dancefloor-oriented is actually not that crazy. In its proper setting (i.e. extremely loud), the bass is the pulse, not the percussion. (This isn’t true for more modern dnb, which often feels like fast rock music.) The bass usually moves at half speed, which for dnb would be a hip-hop or reggae tempo. If one listens to dnb long enough, one learns to subdivide the speed and move accordingly.
Aphex Twin is mostly not dancefloor-oriented, and his beats and bass often *are* crazy.
PFM sounds really good to my ears (better than Burzum’s ambient tracks imo). Plus, it’s always good to read about the ways in which artists can reach “similar destinations, just through different paths”. I love the idea of there being this connection between the more disparate genres of music.
I know I’m a little late on this one, but I can definitely hear the similarities in how Varg and Mike Bolton put their songs together. Even some of Varg’s more metal pieces have a rather ambient flow to them (most of the songs on Hvis Lyset Tar Oss and Filosofem).
I think that’s what makes Varg’s music more interesting to me than the rest of the black metal genre – he was able to create a wall of sound out of trance-like music, rather than playing tons of different notes per measure.
PFM’s music reminded me of something I’d hear while playing Gran Turismo, which is in no way meant as a slight. It’s some very rich and lush music that lets you drift off without becoming dull.
Nice comparison post!
NB: Tomhet was recorded before Varg went to prison.
Kodiak – thanks for the chronological clarification. I realized my mistake the other day when I was reading this fascinating post on how Burzum almost signed to Earache:
http://askearache.blogspot.com/2006/06/burzum-signs-with-earache.html
Yeah Aphex Twin’s drillnbass stuff left me wondering just like any dnb I had encountered, but I started to get it more by concentrating on the simple synth/key lines going on while the percussion takes dumps every which way. What I’m into is his ambient stuff, where you could feel like you’re sitting in a dusty room on a creaky chair with a breeze lightly blowing on you. Always loved that rustic feel, and that the music feels like it’s not really there but turning it off leaves your room so bare and empty.
That’s what I dug about PFM (beyond it’s astounding similarity to Tomhet) was how it made me feel a bit slower, like the room was different. It has that same quality of ambient Aphex to me, able to pull you in, put you out, then bring you back once the track is over. Kind of like a slow walk through a town no one has lived in for decades, the feeling that there is life winking out at you while your brain knows and reasons there hasn’t been any walk to a store in so long. Only problem is having trouble locating any PFM material, even on the internet.
Not sure why this hit me but I’m super interested in more stuff that is similar in tone to this. Have any suggestions, oh wise purveyor of electronica? Do people even call it that anymore?
For atmospheric dnb, the starting point is producer/DJ LTJ Bukem and his Good Looking label. The early stuff (up until the late ’90s) is what you want. Your 1st two must-hears are the Logical Progression Level 1 2xCD set and Bukem’s Mixmag Live Vol. 3 DJ mix. Both will blow your mind. If you’re into the DJ mixes, his 1st 4 Progression Sessions mix CD’s are great. The Good Looking discography (and that of its sublabels) is huge, but start with those.
PFM has a compilation of his productions on Good Looking called “Producer 02″. It’s good, though hearing DJ 12″s outside a DJ mix means you’ll have to hear long intros and outros.
For a quick fix of PFM, most of his early Good Looking 12″s are up on YouTube.
Outside dnb, for that ambient/rustic feel you mention, try stuff from the Microcosm/Anticipate label group. Much less epic than dnb, but soothing in its own right.
Happy hunting!
On a less blissfull DnB tip: Do you know Wormhole by Ed Rush & Optical? Now there?s some DnB a metalhead could get into[I?d think]. I?d love to see your review of that.
Enkeling – I know Wormhole very intimately, as I caned its tracks as a DJ. Since it’s not as overtly metal as the dnb with distorted basslines, I haven’t covered it yet. Also, my posts on dnb have mostly incited crickets-filled silence…until now. PFM seems to have struck a nerve, for whatever reason. I hold ’90s neurofunk in great esteem and will hopefully get a chance to work some into this blog.
BTW, your art is *amazing*. I hope to see an exhibit in person someday.