Ulver "Locusts" (2024)

 

With a strident return to form, Ulver delivers again on his intelligent renditions of matured Synthpop. After a couple of shaky releases, Locusts rediscovers balance. Steeped in dusky atmospheres, classy compositions layer up dreamy instrumentation for his voice to shine like a light guiding the way forward. Steady baselines peruse and pristine keyboard tones shimmer in a dense dance, lush and brim. Melodies play fractured, subdued, diverse, allowing emotion to amass from its parts, without steeling focus from our front man who steps into the stage light, suited up and proper.

Its a smart, intelligent set of songs with a soft city nightlife vibe reminiscent of an older generation. Accents of New Wave, Art Pop and Dance music show distinctive influences, perfectly reworked to suit this breezy pace. The record stars slow and withheld, a minimal take on the formulae to come. The opening title track lunges into its big synth kicks towards its conclusion but the proceeding Nocturne #2 reminded me of Peter Gabriel, a Worldbeat influenced tangent slow and meandering. Its a great conjuring of softly esoteric mood yet halts the show from starting somewhat.

The other installment of Nocturne interjects between these snugly paired songs with a broody rendition of droning synths. Powerful, dark and dreary yet adrift from the records overall tone. The rest of its songs play an effortless pleasure, dazzling and soulful in their own way. Very enjoyable yet feels a little light in variety. What detours it does offer drift from its solid foundations. Curation is possibly its culprit.

Rating: 6/10

Ulver "Flowers Of Evil" (2020)

 

Thinking back on The Assassination Of Julius Caesar, this latest installment from Norwegian musician Ulver has failed to feel as remarkable and that is probably down to its carbon copy nature. There isn't an inch or a mile of difference between the two records temperaments and so the warm, inviting music of this intellectual artsy rock fused with soft synth and percussive electronic elements, finds itself with the edge dulled for this listener. It is however, much like before, a riveting yet safe experience of melodic crooning, noninvasive music that sways with own particular swoon.

Once again Rygg's voice shines like a beacon. Smooth and powerful he lights up the songs with classy melodies to compliment the drive of blinking electronic instruments that weave together airy piano chords, warm droning baselines and spontaneously adventurous percussion. Together they forge an Ethereal edge to the aesthetic when the vocals are striped back and instruments reverberate with a calming, indulgent intention. Swaying from these states and brief moments of percussive rigidity strip back the curtain of their design, a positive moment many of the songs here possess.

To me it feels like the record sets off in a darker place, the synths tinged with a Synthwave tone illuminate a subtle nightlife vibe. Lyrics carry an anxiety, dystopian topics unravel as Rygg packages his lyrics with a poetic ambiguity. As the music progresses to warmer shores the wording becomes more direct and less of his catchy wordings arise. That however is just my take on an area I tend to gloss over more in music. Ultimately its another eight fantastic songs to fit this current stylistic stride but with a less remarkable impact given how little of the music here offers up something new in the shadow of its predecessor. Good but not quite great.

Rating: 7/10

Ulver "Sic Transit Gloria Mundi" (2017)

To use Francis Bacon's horrifying "Screaming Pope" as a record cover is an ambitious statement. For a band once associated with Black Metal I half expected this to be a transition in sound but this three track EP is simply additional songs from the The Assassination Of Julius Ceasar recording sessions. Despite being left out, these may be some of the best songs from the album released earlier in the year. For Ulver's lush and serine re-imagining of 80s Synth Pop I do not understand the relation with the dark and harrowing painting of Fancis Bacon but its the least of concerns given there are three new songs to enjoy.

"Echo Chamber" treads on unearthed ground, an atmosphere of unsettled tension, cautiously guides us through a mid-tempo night time drive of synthetic atmosphere. Slow, winding melodies scale up against Rygg's lyrics siting terror events in London as a catalyst for the current social political climate. "Bring Out Your Dead" ironically brightens the mood with a fast bustling hi hat to shift things into cruise control, although the lyrics have a sad tone, the songs melodies and synth revolve around an uplifting emergence for the dark.

"The Power Of Love" gently unfolds with archaic pianos soaking in a rich reverb, Rygg softly sings with passion to lead us into a ballad as the instrumentation unfolds. Delicate deliveries and a sincere performance give it quite the charm and class to let an underlying string element lead us into a climatic conclusion in the songs second phase. Its a remarkable track but I can't help but ponder what a cheesy synth pop ballad it could of been. The same music, retrograded back a couple of decades, this would of been a blueprint chart topping cliche track, yet with the right approach and tone its an entirely different, very enduring song. A cracking EP, three solid songs, would love to hear more!

Rating: 4/10

Ulver "Kveldsjanger" (1996)

I've always been aware of Ulver, never quite found my way into his eclectic collection of records however the recent release of "The Assassination Of Julies Caesar" has cracked open the door. "Kveldsjanger" caught my ear as I was skimming through albums. Its part of the "Black Metal Trilogy" yet has not a drip of anything Metal in sight. Ulver's first record had both Black Metal and Norwegian Folk music woven into one, the following two records would split the styles and so this release is thirty five minutes of enchanting, mythic, Norse Folk to sink into.

Serine acoustic guitars, enchanting flutes, a deep brooding cello and absorbing vocals paint a wonderfully primitive and spiritual experience, capturing the spell bounding beauty of the cold natural terrain. Its wooden acoustics have a natural chill about them, very earthly. They strum out layered arrangements that sway their linage, ever changing, there twang a touch Spanish in moments but rarely that temperate. Garm's voice has a few intensities, sometimes loud and burly at the forefront, performing a folk tale, other times hes heard holding notes and words in the distance like a hymn behind the guitars. It always brings a spiritual humanistic level to the music and puts a soul within the landscape.

The nuances of detail are almost irrelevant in how vividly the vision of times gone by come across. The vast Nordic countryside is brought to life with a rural honesty, the mood doesn't steer into paganism, darkness or some exaggeration. It has a grounded authenticity that lets your imagination set the scene. A slight streak of sorrow runs through some tracks but nothing ever feels obvious, Its mood and tone command the setting with compositions that feel like old Folk songs have been fleshed out and expanded upon. "Hiertets Vee" steps of the path with the sound of vicious whirling winds and the end of the song, lonely flutes are heard through it, painting visions of travelers hunkering down to see out a storm. Its just a single moment that's a little more cinematic than musical and it fits right in. This record is a wonderful piece of folk art, a go to record for that atmosphere of the ancient past.

Rating: 8/10

Ulver "The Assassination Of Julius Caesar" (2017)

Norwegian musician Ulver has an eclectic discography in the making. Emerging from his native native Black Metal scene in the 90s, Ulver gave up the sound after the third record and has since pursued many sounds and styles, often experimental. From Dark Ambient and Drone, to Trip Hop and Jazz, often with a strong current of Electronics, he has quite the remarkable journey. This latest venture outlines its premise and inspiration with the title alone, the music strides into new territory as an intelligent from of Synthpop emerges, rich in texture and dense in composition.

Lyrically its concept is obvious, stated in the albums title. As words often do, they go right past me however like a sore thumb one always picks up on the pronunciation of dates, events and the narrations that tie them together in the pursuit of historical ties. Sometimes we are following Caesar's internal dialog and other times from a third person perspective. Its one thing that caught my attention, however almost all of mine was captivated by the stunning instrumentals and Ulver's soaring, powerful yet persuasive voice.

 An array of beautifully crafted synth instruments unite under an inspired chemistry that brings about a truly swooning collection of songs. They play out like cinematic moments of emotion and event, with the power to transform and evolve seamlessly. The synths interweave bright, pulsing melodies with bold and poppy textures while soft, expansive strings grace the backdrop. Pianos, acoustic guitars and other instruments wage in too, the drumming is especially impressive, holding together and electronic sound without relying on booming thuds and thumps. There is a lot of hi-hat and cymbal work, subtle drum rolls and a good sense of rhythm to really flesh out the percussion without overpowering its way into the fold.

Its as if the level of craft and composition outplay its nearest neighbor, on one level it has the pop sensibilities to draw one in with fantastic hooks and inviting melodies, on another it plays so much deeper with all kinds of whispering instruments waging in, for example very quiet bongos can be heard here and there. With it the songs can be simple in structure and others more complex and evolved, however the album flows effortlessly between the varying degrees of approach. Brilliant record, can't stop listening to my favorites at the moment.

Favorite Tracks: So Falls The World, Transverberation, 1969, Coming Home

Rating: 8/10