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The 'covers album' tends not to get a good rap, but anyone who knows anything about Ulver would know full well that they'd take an off-beat approach to the idea. Here, they take a leaf from David Bowie's Pin-Ups and give a highly individual spin to a brace of 1960s psych and garage rock deep cuts. Just as Bowie gave his selection a glam rock spin in keeping with his musical approach at the time, here Ulver recast the songs they select into a distinct mode of their own - a mixture of psych-aligned proto-prog and gothic darkness, like what might happen if the Doors and the Cure got to jamming.
As the cover art implies with its incorporation of one of the most iconic and harrowing images of the Vietnam War, this reinterpretation with the aid of hindsight teases out the darker aspects of the flower power era - a time when the sunniest pop to ever grace the airwaves was churned out even as a war that traumatised a generation and made the whole world question the innocence and good intentions of US foreign policy raged. The end result is a classic example of how a distinct and original artistic statement can be put together even if it doesn't wholly constitute original material - plus the individual interpretations of the songs are some great goth-psych stuff on top. For their Wars of the Roses, Ulver shapeshift once again. It's a bit harder to get a handle on their sound this time around, partly because it's a bit more wide-ranging and experimental, but if you obliged me to have a stab I'd say its their bid at producing melancholic melodic art rock - it's not quite baroque enough to qualify as full-blown prog (or even neo-prog), but it's the sort of thing which wouldn't seem wholly out of place out of an opening act for Marillion or something. The major exception is album closer Stone Angels, a spoken word poem read over an extended ambient musical backing. On balance I'd say that Ulver don't quite have as strong a direction here as they usually do on their projects, which makes it a bit of an oddity in their discography. You'd think that by this point in their career, after all the twists and turns they've taken us down, the prospect of Ulver trying out a radically different genre from their former work would be utterly unsurprising - I mean, this is the same band which bounced from kvlt black metal to dark folk across their first two albums, after all.
And yet, somehow The Assassination of Julius Caesar manages to be another whiplash-inducing swerve from Ulver, shifting into the realm of honest-to-goodness synthpop. The secret to it, which makes it perhaps my favourite Ulver release ever, is that this is a style of gothy synthpop which feels distinctly Ulver, particularly in terms of their electronic and ambient works of their post-metal era. After all, Dressed In Black on Blood Inside verged on the electro-gothic, so this isn't an evolution entirely without precedent, and whilst 80s nostalgia synthwave stuff is in vogue at the time, Ulver are able to artfully defy expectations by making the most 80s-tastic cut on here a tribute to 1969.
Moreover, just because they've gone synthpop doesn't mean they've gone simplistic with it; there's complex, ornate passages here which reveal hidden depths to their sound, and I'd urge anyone turned off by the synthpop approach to at least give cuts like Rolling Stone or Coming Home a chance before writing off this album out of hand. Is this what we wanted or expected from the next Ulver album? Almost certainly not, but by this point we'd be fools to expect Ulver to do what we want or expect - better to simply let them do their thing, and celebrate it when that results in creative masterstrokes like this. Ulver, The Trilogie Part III: Nattens Madrigal - Aatte Hymne til Ulven i Manden (1997) By the time of their third album Nattens Madrigal - Aatte Hymne til Ulven i Manden Norwegian band Ulver had already covered two different forms of music. On Bergtatt - Et Eeventyr i 5 Capitler (1995) they played atmospheric black metal and on Kveldssanger (1996) they played dark folk. With Nattens Madrigal the band returned to black metal for what would ultimately be the final time, but produced something completely different to Bergtatt. I guess you have to hand the award for diversity to Ulver given the number of genres they've covered in their career, but in terms of black metal the difference between Bergtatt and Nattens Madrigal isn't something I think can really be applauded.
You've heard of progressive metal, well this must be what regressive metal would sound like in theory. On Bergtatt you have an album that can be considered groundbreaking within the black metal genre. But on Nattens Madrigal you instead have something that for the most part exemplifies all the things that the genre's detractors just love to hate: very lo-fi guitars with little variance in song-writing. The kind of stuff, the traditional black metal sound as it were, that even though I personally understand and like it to a degree always seems to be the source for all black metal to get a bad reputation. The last paragraph probably comes over as excessively harsh because in context and based on its own merits for what it is I do actually find Nattens Madrigal to be a pretty solid example of this style, but it all feels like one big step backwards from where they started with Bergtatt. It's like it was an album the band just needed to get out of their system before they went off to explore other musical genres, or something. The best track in my view is the last one VIII: Of Wolf and the Night, as it seems that behind the fuzz of the raw guitars there are more ideas going on that suggest that the creative band who made Bergtatt are still in there somewhere.
Decent for what it is, but disappointing too since they proved themselves to be much better than this sort of thing on their very first album, Nattens Madrigal is one of those albums that I have a love/hate relationship with. The fans of the traditional raw and cold Norwegian black metal sound will likely love it though.
I'll rate it based on its own merits as is fair, but most of time when I want to listen to some Ulver it'll be Bergtatt I'll be returning to. Ulver, The Trilogie Part II: Kveldssanger (1996) After making their groundbreaking debut album Bergtatt - Et Eeventyr i 5 Capitler (1995), Norwegian band Ulver made the unusual decision to remove the black metal elements of their music entirely on their second album Kveldssanger. Ulver is a band who later became known for having done much more work outside of metal than in, but at the time this album must surely have come as a surprise to fans of the band's debut. Stripped back completely from what they were doing on Bergtatt and Ulver is basically left with just their dark folk elements.
Vocalist Garm's role in the band is also rather reduced due to the album being mostly instrumental. There's no variance in style beyond that. Kveldssanger is an album of roughly the same length as the previous but with many more tracks of much shorter durations. The music is pleasant and overall the length of the album is about right for it to remain enjoyable for the metalhead looking to experience a different side to the band, but for my part when I listen to the album I can't help but wonder how the ideas on display would have better fared if woven into atmospheric black metal tracks like the band were playing on Bergtatt. Many of these songs are short and don't seem to go very far before the next comes along. Though not the first time Ulver would go fully non-metal, Kveldssanger still stands as a unique release in their discography due to being their only folk album. Out of their first three albums that traditionally form their black metal period (despite this one not having a second of metal in it) I can't really recommend it too highly.
To me it seems to be more of a curiosity than anything, not really having a true place with their black metal work or later electronic based work. For those who like an 'odd one out' album though this is certainly worth a listen.
Genre: Black/Folk Metal, Ambient/Avant-garde/Electronica Origin: Norway!!! First solve the captcha code then select file host!!! All releases are 320 kbps. Albums 1995 – Bergtatt – Et Eeventyr I 5 Capitler 1996 – Kveldssanger 1997 – Nattens Madrigal – Aatte Hymne Til Ulven I Manden 1998 – Themes From William Blakes The Marriage Of Heaven And Hell (2 CD) 2000 – Perdition City 2005 – Blood Inside 2007 – Shadows Of The Sun 2011 – Wars Of The Roses 2012 – Childhood’s End 2013 – Messe I.
Contents. Trinity blood dress mp3 download. History The Black Metal Trilogy The band was founded in 1993 in by vocalist together with Grellmund, Robin Malmberg, and A.
Ulver issued their first demo, in November 1993. Their music and style was consistent with the of the early 1990s. However some have noted the, and influences that would later shape the band's sound.
The archaic Dano-Norwegian lyrics were greatly influenced by and inspired by Baroque poets such as and the hymn-writer. Debut album, the first part of what has become known as Ulver’s ',' was issued in February 1995 through label. The album was met with critical acclaim, and was notable for blending black metal, harsh vocals and blurred, buzzing guitars with quiet, folk-like acoustic passages. It was praised for its unique atmosphere and was described as 'mysterious, melancholic, eerie, and oddly tranquil.' For their second album, issued March 1996 by, Ulver eschewed a typical sound by incorporating, and choral chamber chants overlaid with subtle orchestral landscapes. The album was a drastic contrast to Bergtatt, whilst still retaining the atmospheric and folk themes.
Vocalist has since remarked that, despite strong content, was an 'immature attempt at making a classical album'. The album was praised for its atmosphere, evoking a feeling of quiet, eerie solitude. Following the success of their first two albums, Ulver signed with German label for their third album, issued in March 1997, marking the band’s international debut.
The album showcases a style similar to Bergtatt, abandoning the acoustic and atmospheric elements of Kveldssanger, with an intentionally sound. The album has been described as 'raw and grim black metal at its blackest.'
A common myth about the album is that the band spent the recording budget on suits, cocaine and a Corvette; and recorded the album outdoors in a Norwegian forest on an., however, has stated that this is not true; and possibly a rumour started. The album has been described as 'so fast and ferocious and the vocals so garbled that it's best just to take the sheer sonic force as reflecting the band's concept, rather than trying to piece it all together.' Metal Injection concluded ' Kveldssanger had no electric instruments, Nattens madrigal had no acoustic instruments, but Bergtatt, has both acoustic and electric instruments; it’s like they spliced the elements from Bergtatt into two separate albums. If that’s the case, then Nattens madrigal really showcases the black metal prowess of the band.
The album answers exactly why people were so angered by Ulver’s transition away from black metal, and why people are still bitter at their direction today.' In 1997, issued, a limited edition collection, containing, and in LP Picture Disc format, housed in a cardboard box, with a booklet & bonus posters. The Blake Album invited composer and sound architect Tore Ylwizaker into the collective in order to expand their artistic and musical visions; and together they stepped over the boundaries of black metal aesthetics, creating a genre-defying work in, released in December 1998. The album was issued through ’s own imprint, a label born out of discord between Ulver and Century Media.
Musically, the album blended, elements, and, adding passages. Lyrically, the album incorporates the entire text of 's, utilising guest vocalists on several songs. The album received widespread acclaim from critics within both the rock/metal and alternative music press - being awarded ‘album of the month’ in several high-profile magazines such as, and Rock Hard and ranked highly in their end of year's best polls. However, the album’s transitional nature perhaps alienated many fans of the band's first three albums - causing a backlash from the scene.
Metamorphosis Ulver, now only consisting of and Ylwizaker, issued an, in September 1999. The music moving to the more heavily electronic approach, bridging the gap to the ambiance of 2000’s full-length album. In the sleeve notes to, the group declared: “ Ulver is obviously not a black metal band and does not wish to be stigmatized as such. We acknowledge the relation of part I & III of ( Bergtatt & Nattens Madrigal) to this culture, but stress that these endeavours were written as stepping stones rather than conclusions.
We are proud of our former instincts, but wish to liken our association with said genre to that of the snake with Eve. An incentive to further frolic only.
If this discourages you in any way, please have the courtesy to refrain from voicing superficial remarks regarding our music and/or personae. We are as unknown to you as we always were. ”, issued in March 2000, was described as moody, atmospheric electronica, cinematic in scope, evoking a soundtrack for an imaginary film. Praised the album, ranking it top ten that year, noting 'This ain't rock 'n roll. This is evolution on such a grand scale that most bands wouldn't even be able to wrap their tiny little minds around it.' Musically, Ulver not only explores new genres, but also shift from extrovert, into more introverted moods, or interior music.
Ulver Bergtatt
The band followed up with two /// companion ’s, called and, in September and December 2001, respectively. The material featured here was loosely recorded during the sessions for the album. The style is more /atmospheric and less beat-oriented; rather mood pieces that revolve around the theme. Due to the nature of the music, both Silence ’s were limited to two thousand, and three thousand copies. However, both ’s were re-released as one disc, issued through American independent label Black Apple Records, under the title, in November 2002. Ulver, now with more confidence in their ambient sensibilities descent into the world of film, producing scores for (issued as, in November 2002), (issued as, in September 2003) and a joint soundtrack with singer/songwriter for the multiple award-winning. Ulver were praised for their soundtrack work, and their ability to adapt and providing a sense of continuity to each film.
Ulver Bandcamp
The song was later used in the 2012 film. Ulver celebrated their ten year anniversary with a remix album, issued in April 2003, featuring contributions from, and. In 2002, the trio had announced that they had been working on a string remake of, but later stated that the project 'is in a state of total dormancy.' Second Decade in The Machines.