An (over)analysis of Burzum - Decrepitude I

For the accurate enunciation of something so blissful and profound, I will make clear from the first paragraphs what the track presents at its best: a harmonical antithesis, not only musically- our first motif- but also lirically- our second motif.

Since the beginning of the track, a raspy sound of machinery at work can be heard, but this will be significant only at the end of our experience and interpretation from the musical perspective. Then, there is a total uprising atmospheric battle that preceeds to take place between the chaotic harmonics which are being presented, without any intention, provoked by the heavy effect of distortion which the guitar suffers, alongside a dark, emphasized bell with a bit of delay which creates a cloak of calmness and warmth over the intense fight that has continuity in the musical sphere, mixed with the machinery from the beginning. After a simple sounding bell, the scream of Varg appears and the mix drops down only for a bit, showing the apparent dominance that man has over the pre established antithesis, only for it to come back again, over Varg, making its course as real as it has never been, while man screams out his pain, his sorrow, making it a dimension in which no silence must arrive, for it only destroys the beauty of the battle itself. A melody arises from the bell, right after man gives up, and the clockwork guitar motif loses its sense, now the bell, through all the roughness and ambigous confrontation, making itself shine all over the piece; yet, it never overwhelms the guitar, it never takes over the chaotic, the abstract eternal sphere which makes the world to tremble, to fear, to care, to feel alive, driven by the adrenaline which has been given a flow since the beginning of our journey; the equilibrum between the dual must always exist: for the bell without the guitar is meaningless, hollow; so also the guitar without the bell doesnt satisfy, but only seems to trigger distress, a feeling of strong unease, of uncontrollable tingling in our souls. And now, by catching our attention, we slowly forget about the machinery, staying in the back, not too loud, yet not too quiet, which sounds almost like a big clock that is trying to hold the both masters not go too far away from the purpose, not too far away from one each other; could that be, therefore, Time? Time, the unknown elemnt to our nature that holds not only the duality of men together, resisting, but that of nature too? Decrepitude I, as in its full glory, resembles therefore nature - while the darkness of a forest shows its shadow by an owl which brutally eats a mountain rat, so does the Moon, in all its beauty, gives Light, a leading tone over the spiraling endless confrontation that takes place in the forest.

Lirically, Varg shows the refreshment that he gets through suffering, being exhausted, drained out of all his force, yet, vanishing our doubts about the importance of the Night - Day situation, emphasizing clearly in his lyrics the importance of duality and its resemblence through artistic manifestations:
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