The Man and His Music
Early Rebellion
Before the flames, there was the music. Before the notoriety, there was a young man, Kristian Vikernes, later known as Varg Vikernes. Born in Bergen, Norway, Vikernes became a pivotal figure in the creation of what would become known as Norwegian black metal. The movement, emerging from the shadows of the late 1980s and early 1990s, wasn’t merely about heavy music; it was about a complete rejection of perceived societal norms, a rebellion against the perceived encroachment of modernity and, most crucially, an aggressive opposition to Christianity.
Burzum’s Genesis
At the heart of Vikernes’ artistic expression was the one-man band, Burzum. The name itself, taken from the Black Speech of Mordor in J.R.R. Tolkien’s *Lord of the Rings*, hinted at the darkness and esoteric themes that would permeate his music. Burzum’s early albums, particularly *Burzum* (1992) and *Det Som Engang Var* (1993), were characterized by raw production, tremolo-picked guitar riffs, blast-beat drumming, and Vikernes’ raspy, often unintelligible vocals. The music was designed to be evocative, creating an atmosphere of cold desolation and misanthropy. It was a sound that was deliberately anti-commercial, a stark contrast to the more polished and commercially driven metal bands of the time.
The Black Metal Ethos
Black metal, as it developed in Norway, became a vessel for a complex set of ideologies. These included a strong anti-Christian sentiment, a rejection of the perceived “weakness” of Christianity and a championing of a return to pre-Christian pagan beliefs. The music was often accompanied by lyrics that celebrated Norse mythology, pagan rituals, and a romanticized vision of a primal past. This ideology often included a strong sense of national identity and, in some cases, extreme nationalist ideas.
The Ideological Architect
Vikernes was not just a musician; he became a self-proclaimed philosopher and ideologue, articulating his beliefs in interviews, zines, and his own writings. His philosophy was rooted in a rejection of modernity, a romanticization of the past, and a belief in the inherent strength and purity of the Aryan race, views which have drawn considerable criticism and controversy. The music, therefore, was not just a form of entertainment; it was a vehicle for expressing and spreading his ideology.
A Trail of Ash: The Church Burnings Uncovered
The First Blaze
The first flames were lit in the spring of 1992. The initial target was the Fantoft Stave Church, a historic wooden church in Bergen. The church, a magnificent example of Norwegian stave church architecture, was completely destroyed in the arson attack. This act wasn’t an isolated incident; it marked the beginning of a series of church burnings that would become synonymous with the rise of the black metal scene and, in particular, the name of Varg Vikernes.
Spreading Destruction
Over the next several years, a wave of arson attacks targeted other churches throughout Norway. Many of these churches were centuries old, representing significant cultural and historical landmarks. The flames consumed not only wood and stone, but also cultural heritage and the collective memory of a nation. Among the churches targeted were the Gol Stave Church, the Åsane Church, and the Holmenkollen Chapel.
The Legal Fallout
While Varg Vikernes was not directly charged with every arson, he was ultimately convicted of several counts of arson, specifically related to the destruction of the Åsane Church and the Holmenkollen Chapel. The legal proceedings were highly publicized, and the evidence presented, including photographs, statements, and witness testimonies, implicated Vikernes in the attacks. He also faced murder charges and was ultimately convicted in the murder of Øystein Aarseth (Euronymous), the guitarist of the band Mayhem, in 1993. The Aarseth murder further deepened the negative perception of Vikernes in both society and within the metal scene, cementing his image as a dangerous and volatile figure.
Beyond the Main Figure
Beyond Vikernes, other members of the black metal scene were also linked to the burnings, though to a lesser extent. Some, like the band members from Emperor, faced charges. These individuals often shared similar anti-Christian sentiments and, in some cases, participated in the planning or execution of the attacks. The burnings, therefore, were not solely the work of one individual, but rather a symptom of a wider cultural phenomenon and ideological movement.
Ideas in Flames: Motivations and Underpinnings
Opposition to Faith
The motivations behind the church burnings were complex, but several key factors contributed to the events. Anti-Christian sentiment was paramount. Black metal musicians and their supporters viewed Christianity as a corrupting force that had suppressed Norway’s pagan heritage and the natural, “strong” character of the Norse people. For them, burning churches was a symbolic act, a violent rejection of the Christian faith and a reclaiming of the land for their pagan ancestors.
Pagan Pride
Paganism and nationalism formed another key aspect of the motivation. Vikernes and others embraced Norse mythology and pagan traditions, viewing them as a source of spiritual and cultural strength. They saw the pre-Christian past as a time of freedom, authenticity, and a connection to the natural world. The burnings were thus seen as a way to purge the landscape of the Christian symbols and pave the way for a pagan revival. This embrace of Norse mythology often intertwined with nationalist beliefs, a sense of Norwegian identity that saw Christianity as an alien imposition.
Symbolic Violence
The act of burning churches itself was imbued with a powerful symbolism. It was a deliberate act of desecration, a violation of a sacred space, and a proclamation of war against Christianity. The flames were a visual manifestation of the black metal aesthetic: darkness, destruction, and the rejection of societal norms. The burnings, therefore, were not just acts of vandalism; they were statements.
The Call to War
Vikernes’ rhetoric surrounding the burnings further illuminated his motivations. He framed the attacks as part of a larger “war” against Christianity, a fight to reclaim Norway’s spiritual and cultural identity. He saw himself as a warrior, leading the charge against the perceived enemies of his people and his beliefs. He often expressed this sentiment in interviews, zines, and his writings, constructing a narrative of conflict and ideological struggle.
A Burning Legacy: The Impact and Endurance
Societal Rupture
The church burnings had a profound and lasting impact on Norwegian society. The events shocked the nation and sparked debates about religious tolerance, cultural heritage, and the influence of extremism. The destruction of historic churches was seen as an attack on the nation’s identity, causing widespread outrage and condemnation. The burnings also raised serious questions about the nature of free speech, artistic expression, and the boundaries of acceptable behavior.
The Scene’s Transformation
The black metal scene in Norway was profoundly affected. The burnings, along with the murder of Euronymous, brought unprecedented media attention to the scene. It quickly became associated with violence, extremism, and criminal activity. This association both attracted and alienated many, altering the trajectory of the scene. The media coverage often sensationalized the events, portraying the black metal musicians as dangerous and demonic figures, further contributing to the negative public perception.
Continuing Resonance
The legacy of the church burnings continues to reverberate within the black metal genre and beyond. The events are often referenced in songs, album artwork, and interviews. They have become an integral part of the mythology surrounding black metal, a potent symbol of rebellion and ideological purity. However, it is a complicated legacy, one that must acknowledge the destruction of cultural heritage, the violence that was done, and the harmful ideologies that were espoused.
Considerations of Meaning
The burnings brought to light the dark undercurrents of the black metal scene and its embrace of violence and extremism, prompting discussions about the role of music in society and the responsibilities of artists and fans. The legacy of Vikernes and the church burnings is a cautionary tale, a reminder of the dangers of unchecked extremism and the potential for art to be used as a vehicle for violence and hatred.
Ongoing Discord: Controversy and Dialogue
Differing Perspectives
The legacy of Varg Vikernes and the church burnings remains a subject of controversy and debate. Some individuals argue that his actions were justified, viewing him as a champion of free expression and a defender of traditional values. Others condemn his actions unequivocally, pointing to the destructive nature of the burnings, the loss of cultural heritage, and the inherent dangers of his hateful ideologies.
Creative Boundaries
Discussion continues regarding the ethics of artistic expression and the responsibilities of artists. Many ask how far creative license extends when the art clearly promotes harm.
Digital Echoes
The internet and social media, of course, have created platforms for the further sharing of views. The nature of the media often leads to extreme views. Many commentators note that these views, no matter how different, are often at polar opposites of the spectrum.
In Conclusion
The Varg Vikernes Church Burnings were more than acts of arson; they were a violent expression of complex ideologies that challenged the foundations of Norwegian society. The burning churches became symbols of rebellion, paganism, and a profound rejection of Christianity. The events, however, resulted in the destruction of historic landmarks, fueled extremism, and brought about a wave of condemnation. Varg Vikernes became a lightning rod, the face of the movement, and a figure whose actions and ideas continue to generate debate and controversy. His music, the burnings, and his subsequent imprisonment left an indelible mark on the black metal scene, the cultural landscape, and, indeed, the world. The flames of the burning churches may have been extinguished, but the shadows they cast continue to lengthen, reminding us of the complexities of art, ideology, and the destructive potential when these forces collide.
