For over 30 years, Ulver, have been a band that defy expectations and refuse to confine themselves to just one conventional genre. The band would release their trilogy of Bergtatt, Kveldssanger, and Nattens Madrigal in the ’90s which would lay some of the groundwork for folk/acoustic music in the black metal genre for years to come. Not one to rest on their laurels, The band sought to expand from black metal, venturing into several different musical genres ranging from drone and ambient to synthpop and electronica.
It’s been almost five years since Ulver released Flowers of Evil, a record that seemed somewhat more accessible and upbeat in comparison to their previous album The Assassination of Julius Caesar. But after dropping single after single for almost a year now the band has been patiently waiting to release their 13th album, Liminal Animals, via House of Mythology. The album is dedicated to Tore Ylvisaker, a longtime member of the band since 1997 who passed away in August of this year.
“Ghost Entry” opens the album in a bit of an upbeat mood, making you wonder if this record will be a continuation of Flowers of Evil. And you would be forgiven for making that assumption, but once “A City in The Skies” kicks in with elements of rock and bleak lyrics of hopelessness for humanity, you know you are in for a much darker album.
For Ulver fans who have been waiting for a continuation of The Assassination of Julius Caesar, this album will more than satisfy your craving for some somber synthwave showcasing a cynical outlook for society. This feeling is amplified later on the track “The Red Light” expanding more of the rock aspect and embracing lyrical themes of negativity about mankind.
“Locusts” starts itself off in a more somber tone than other tracks but slowly starts to build up, creating an almost haunting atmosphere warning of what is to come, until the quiet finally breaks, and the song explodes into a chorus asking the listener if they can hear what has come.
“Hollywood Babylon” begins with groovy synthpop like many of the other songs on this album but slowly creeps into industrial territory. After the chorus the music descends into frightening screams and gunshots layered in with guitar and drums before finally exploding, bringing the listener back to where they left off.
“Nocturne 1” and “Nocturne 2” are two distinctly different electronic instrumentals that help to divide up the album in different ways. “Nocturne 1” creates a dark atmosphere with synth that can leave the listener feeling as though someone is watching them as they walk through the woods at night. “Nocturne 2,” however, embraces aspects of drone music that makes you feel as though you are walking through unknown corridors of an endless maze you have no memory of entering.
The final track of the album is “Helian,” an 11-minute song that Features Jørn H. Sværen reading the poetry of Georg Traki over repetitive synth, drums and even trumpet. This track stands out as it will lull you into a refreshing sense of relaxation and calm to close out this groovy synth album. It can almost feel as if the song is tucking you into bed after the long journey you’ve taken throughout the album.
Thematically, Liminal Animals continues the dark aspects of previous albums but forgoes some of the deeper poetic lyrics on their other work. Instead opting for a slightly more explicit approach that can at times leave a little bit of the mystery out of the record. While Ulver continue to utilize Synthpop as its main vessel for conveying their musical evolution, their experimentation with other genres, embrace of bleak and dark atmosphere, and dedication to layering repetition and groove creates a wondrous atmosphere that listeners can enjoy on late night deep in thought.
