Varg Vikernes, creator and sole member of legendary Norwegian Black Metal act Burzum, is a figure who polarizes opinion. Infamously jailed for the 1993 murder of Mayhem founder Øystein Aarseth and the arson of four churches, Vikernes was released in 2009, having served fifteen years of a twenty-one year sentence. A solitary and complicated figure, Vikernes is worshiped by some and despised by others, both for his crimes and for his lack of remorse. However, even those amongst us who struggle to forgive his barbaric killing of Aarseth would find it hard to deny that Vikernes creates arguably the most stunning and technically perfect Black Metal in the scene today and that he has a formidable legacy of work, created both before, during and after his imprisonment.

Fallen is Burzum's second album since Vikernes was released on probation and it continues the more mellow and subtle sound of last year's Belus. Some reviews of Belus criticized Vikernes for no longer howling with anger or despair as he did on earlier records, replacing that style of vocal with gentle singing, rhythmic spoken word and hypnotic melodies. This seems quite natural in fact, a progression of the music which comes with maturity. Vikernes could continue barking forever but his decision to explore other vocal options is both sensible and successful. He has a pleasing voice and delivers the Norwegian lyrics in a clear, attractive way that perfectly matches the unusual and at times avant garde music. Burzum may no longer be quite as aggressive but the shift to a more philosophical approach is just as effective, if not more so. The lyrics, which Vikernes describes as personal, existential and continuing the mythological undertone of Belus, inevitably lose something when translated from his native language but they are intelligent and poetic musings centred on death and the Norse legends that Vikernes holds close.

Musically, the album offers seven tracks, running a little shy of fifty minutes in all. Fans of Burzum will identify at once with the lo-fi, buzzing guitars and their trademark repeated refrains, which create a wonderfully hypnotic sound, even on faster tracks such as Vanviid (Madness). Recorded and mixed in only two weeks, using largely vintage instruments from the 60s and 70s, the production is beautifully spare and simple, avoiding clichés and the pomp sometimes heard in modern Black Metal. Vikernes plays all instruments with his accustomed flair, as comfortable on drums as he is on the eclectic fret-work.

Jeg Faller (I am falling) is a particularly excellent song; its subtle chorus weaves its way into the listener's mind and refuses to leave and perfectly introduces later tracks. Buddstikken (The Message) is an epic ten minute journey through twisting guitars and masterful time-changes, whilst the ambient instrumental which closes the album, Til Hel Og Tilbake Igjen (To Hell And Back Again), is an innovative, memorable piece on which to finish.

Vikernes remains the most exceptionally talented musician in Norway and indeed, in Metal in general. His artistry - which includes the use of part of William-Adolphe Bouguereau's 1899 painting Elegy as Fallen's exquisite cover - and his vision are unrivaled and potentially will remain so. With Fallen, he has written a flawless example of all the depth and wonder Black Metal can bring. It's only tragic that Euronymous isn't alive to see just how far his prodigy has come.

Score - 9.5 out of 10