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Hliðskjálf, named for the all seeing throne of Odin, is the sixth Burzum full-length, the second written and recorded during Varg Vikernes's incarceration. Like it's predecessor, Dauði Baldrs, it was written purely as an ambient/neo-classical work, with no black metal involved. This time, however, a keyboard was acquired for the recording, so the tones sound a little richer perhaps than the MIDI used previously. The problem is that the heightened production quality this creates is counteracted here by the drab minimalism used in these compositions. Burzum is no stranger to the aesthetic, and in the past, has triumphed with the strategy, but where Dauði Baldrs possessed some sweeping, rousing architecture that stood tall in the memory, there are very few moments here that create that same effect.

This is ultimately less Medieval in structure, and has more of a New Age vibe about it. The sparse nature of the compositions remind me of the Japanese artist Kitaro, though not as skilled at the spaces in between the subtle melodies. Hliðskjálf is almost pure mood, with few if any dominant strings of notes being assembled through its conjuration. There are exceptions to this rule, like "Der Tod Wuotans (The Death of Wotan)", or the brief passages of "Der weinende Hadnur (The Weeping Hadnur)" and "Die Liebe Nerþus (The Love of Nerthus)" where spritely melody is evoked, but sadly even these come off as rather bland in the long run. I felt the more powerful pieces were "Tuistos Herz (Tuisto's Heart)", which involves sheer New Age nuance with shimmering synthesizers and thrumming atmosphere, and the dour and incredibly sparse "Einfühlungsvermögen (The Power of Empathy)", with a very faint hint of windchime-like noise behind the deeper chime percussion and solemn keys.

Though I had previously juggled this and the post-hiatus, 2010 album Belus back and forth as to which was my least favorite of Burzum's full-length albums, it is Hliðskjálf which inevitably comes up with the shortest straw. Certainly this is not a bad background piece if you're caught in contemplation or desire something tranquil for nature or navel gazing, and several gleaming moments are caught within the amber, but the ideas do not feel as well formed as anything the Norseman had previously recorded, and it feels almost interchangeable with a large host of New Age and minimalist ambient projects I've heard. It's the most peaceful thing Vikernes has ever written, and the biggest contrast to his black metal works, so it's surprising in that regard, but it doesn't paint in truly compelling shades. I realize many loathe Dauði Baldrs due to its crude and cheesy MIDI polish, but at least that album had an ominous zeal about it that I enjoy, and in truth most of those tracks have never abandoned my memory. I enjoy the packaging, concept and the written narrative here (much like the last two works), but I am rarely if ever struck with the desire to listen to it.

Verdict: Indifference [6.25/10]

http://www.burzum.org