Burzum vs. PFM
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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.
