#ulver — Public Fediverse posts

One-man Norwegian black metal is almost a cliché—the quintessential “oh, of course it is” of black metal. As a reviewer, one-man black metal of most varieties excites me, because, as far as quality goes, you really have no idea what you’re going to get. Take Vetter, for example: active since 2005, the solo project of multi-instrumentalist Håvard Tveito (ex-Folkearth) has released two full-length albums, a couple of demos, and a split with Fyrnask last year. As far as I can tell, Tveito handles production, artwork, and every instrument save drums (credited to Nils Martin Haugfos). Now on full-length #3, Sort var Bogen der Bragte Os Hid, Vetter is creeping its way out of the Norwegian underground. But doing “everything except drums” is a lot to ask of one person. How does Tveito manage this time?

How you feel about that and how you feel about lo-fi production may well be the same—that’s the first thing to notice about Sort var Bogen der Bragte Os Hid. As soon as you press play, hazy riffs, muted drumming, and hoarse growls welcome you to Vetter’s world, so much so that the bass actually becomes the primary driver of melody on “Messefald.” There’s a strong early Ulver feel to the work, with heavy emphasis on atmospheric riffs and breaks for clear acoustic guitars. In its heavier moments, it reminds me of October Falls; the lead riff on “Sort var Bogen” wouldn’t be so out of place on The Womb of Primordial Nature. Occasionally there are breaks for clean singing too, used primarily in the form of archaic-sounding chants. It’s a good recipe for a historically inspired album, ripe with natural, ritualistic imagery and a very traditional approach to the craft.

Generally speaking, organic and melodic are two things Vetter do well on Sort var Bogen der Bragte Os Hid, and the more it leans into being a folk album, the more I like it. “Under Sorte Øine” blends melodic, atmospheric riffs with melodic chanting and vocal effects to build an almost symphonic black metal sound, one that feels organic, if not quite fresh. “Aff Blod oc Bly” is, unexpectedly, a fully folk interlude, and one that offers a good balance and much-appreciated break from the metal. Ignoring its very abrupt fade-out, “Messefald” is a great song, with a memorable melody and an appreciably menacing vocal performance from Tveito. Throughout Sort var Bogen der Bragte Os Hid, Vetter is able to blend atmospheric black metal with modern-sounding folk and melodic influences under a retro umbrella that somehow holds it all together remarkably well.

It feels weird to critique the production on an album that is intentionally low-fi, but one thing that does hold back my enjoyment of Sort var Bogen der Bragte Os Hid is a production issue. When I first read that Tveito handled all instruments except for drums, I assumed he used a drum machine. Truthfully, I only just learned that he didn’t—the drums so lack impact that I had no trouble believing they weren’t real. Similarly, the use of bass as an occasional melodic assistant—certainly a cool choice in the places it works—occasionally removes some bottom end that could give the music more heft than it has. As is, Vetter feels restrained throughout Sort var Bogen der Bragte Os Hid in too many respects—the hoarse growls are fine, the hazy guitars are fine, the muted drumming is fine, and the bass sound is fine, but all together it becomes a little too easy for Sort var Bogen der Bragte Os Hid to fade to background noise by its back half.

And that’s a shame, because I really like what Vetter has done with Sort var Bogen der Bragte Os Hid. Tveito’s music is simultaneously vague and interesting, focused and expansive. The way he blends melodic, atmospheric, and traditional black metal elements is a great asset to his music and an impressive statement to his songwriting. In this case, however, it is held back a bit too much by its presentation. I understand these choices are intentional—but I would personally have preferred a different approach. I’d recommend a listen anyway, though, as, when it does work, it works very well.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Rekviem
Website: facebook.com/vetterkult
Releases Worldwide: August 14th, 2026

#KristofferRygg #Garm

Parfois, l’imaginaire mental est plus important que la musique elle-même.

#Ulver #Metal #Experimental #PostMetal #BlackMetal #Norwegian #Norway #oslo #Music #Ambient #Electronic #FromMetalToMental #Interview #Music #Socialmedia #tv

https://www.youtube.com/watch?v=3bb6yvlkT9M

https://www.youtube.com/watch?v=oQkdtk--0uY

https://www.youtube.com/watch?v=2Efqpg-FUMw

https://www.youtube.com/watch?v=qhDMDV6kO-4&list=OLAK5uy_kYYCISWD_N83E9txWbqJErJbZ7aU-NfiI&index=1

While most people would argue that “black metal” was founded by bands like Venom, Bathory, and Mercyful Fate, the scene didn’t really become what it is without the creation of Norwegian black metal. Which, in turn, people will argue was founded by Mayhem, Burzum, Darkthrone, Immortal, and the like. But people forget acts like Ulver, Urgehal, Satyricon, and Gorgoroth (and others) that helped form the genre. If you know Grier, you know how much Urgehal and Gorgoroth mean to his youthful, black metal development. They are also home to two of his favorite black metal raspers of all time: Trond Bråthen (Trondr Nefas) and Kristian Eivind Espedal (Gaahl), respectively. Before Gaahl made his mark on Gorgoroth classics like Twilight of the Idols – In Conspiracy with Satan and Ad Majorem Sathanas Gloriam, he already had his own band: Trelldom.

Trelldom doesn’t get enough love. But Angry Metal Guy knew what was up when he went back in time to explore easily one of the genre’s greatest hits: Til et annet…. This record is a fucking masterpiece that shows a side of Gaahl you might not know. Those who have followed him throughout his various exploits know full well that Gaahl is a weird guy with some of the creepiest fucking vocals on the planet. But Trelldom’s trilogy of albums from 1992 to 2007 was untouchable. Fast forward to 2024, and the band returns with …By the Shadows…, an even weirder concoction of songs than ever before. Taking a darker direction with a new lineup of legends, …By the Shadows… represented an impressive comeback for the band, rebranded into something more diverse and heartfelt than before. Right on the coattails of that album comes this year’s …By the Word…. And it’s everything you’d expect from a follow-up.

Returning with the mighty Stian Kårstad (ex-Djerv, ex-Gaahls Wyrd, ex-God Seed) and kit powerhouse Kenneth Kapstad (Thorns, Goat the Head, ex-God Seed, and a billion other bands), Gaahl rounds out his lineup with practitioners of the bass, saxophone, clarinet, organ, Dobro guitar, bass harmonica, mandolin, Shankar guitar, and even the fucking Optigan to deliver one of the most unique records of his life. “When This Was Young” opens the record with proggy bass and drums, matching perfectly with Gaahl’s soothing cleans. When the chuggery kicks in, Kapstad’s drums let loose, showing off his impressive skills and giving the song (A) Senile Animal-era Melvins vibes. As it progresses, the effects intensify, melding themselves into the guitars and creating unnecessary madness throughout.

But the opener might be the “chillest” song on the record. By “I Speak Forgotten Voices,” you’ll know that …By the Word… is far more unhinged than its predecessor. The overlapping effects, unsettling vocals, and relentless, pounding drums remove any peace …By the Shadows… might have had. But it’s the mindfucking back-to-back closers, “The Word – Choose to Vanish” and “In There Outside,” that show just how far Trelldom has pushed their sound. Chock-full of all those different instruments mentioned before, “The Word – Choose to Vanish” doesn’t so much add layers as mold everything into the most grotesque monster I’ve heard in a long time. And when you think you’ve heard everything you could from Trelldom, “In There Outside” proves to be one of the more diverse on the album. Throwing you off immediately, the whining woodwinds are replaced with yet another alteration of Gaahl’s vox as the song builds on itself over and over again, resulting in more orchestral qualities than any other track.

…By the Word… is batshit crazy and cerebrally damaging. Where …By the Shadows… at least had moments of relief, this new record does not. Beyond the weird combination of guitars, saxophone, and clarinet screaming at you from all directions, it’s the bass and drums that cause the most damage. Mixed far too the front, the drums, in particular, are ear-shattering. That sounds negative, but it does a hell of a job keeping you off balance. Specifically, when it comes to the devastating “Folding the Mind.” It’s almost as if the band decided it was time to let Kapstad off the leash. …By the Word… is an interesting album that pushes beyond anything the band has done before. It can never be Til et annet… but that’s OK because they aren’t going for it. This new era is worth exploring and …By the Word… is a new benchmark.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: trelldom.bandcamp.com | trelldom.no | facebook.com/trelldom1992
Releases Worldwide: May 29th, 2026

🇺🇦 #NowPlaying on #KEXP's #MidnightInAPerfectWorld

Ulver:
🎵 Not Saved

#Ulver

https://enclosedandsilentorder.bandcamp.com/track/not-saved-ulver

https://open.spotify.com/track/6au2fZwhT0a3j1Celi9A6Q

BTW Najbardziej podobał mi się stary komentarz, bodajże na YT, chyba pod którymś z utworów z OST na kanale #Ulver.a, który brzmiał mniej więcej tak:

>norweski film o mężu mordującym niewierną żonę i dziecko z nieprawego łoża
>gatunki: komedia, romans
Aha. XD

Nå liker jeg Orgivm særlig fordi de pleier å ha en friskere og mer interessant lineup enn mange andre metalfestivaler, men at de skal ha Ulver (som Ulvesanger?) som spiller de 3 første albumene er jo unektelig stas.

#Orgivm #oslo #metal #Ulver

ULVER (Noruega) presenta nou single: "Hollywood Babylon (Gazelle Twin Remix)" #Ulver #BlackMetal #FolkMetal #Ambient #AvantGarde #Electronica #NewWave #Synthpop #Març2026 #Noruega #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Ulver Discovery – ein kurzes, feines Musik-Video, perfekt, um PeerTube kennenzulernen! Kurz reinschauen, entdecken und dezentrale Videos feiern. Viel Spaß beim Stöbern! #PeerTube #Ulver #Musik #Video #Discovery #Fediverse #OpenSource #German
https://we.haydn.rocks/videos/watch/3da24ef4-6ed6-4c40-88b3-07f2c03caadb

#Ulver #JestemLoneTegoSłucham
https://ulver.bandcamp.com/track/glamour-box-ostinati

Happy New Year, ya filthy animals! How about we usher in this stupid year with something that came out on literally the last day of 2025. That’s right, a nice, breezy slice of industrial synthwave and ambient melancholy that sounds like something you’d hear from the radio on a cruisin’ Miami drive, but on like a miserably gloomy day. Which, if you’re familiar with Ulver, the purveyor of today’s jams, is equal parts straight outta left field and yet also predictable. Ulver, the group that authored a smattering of quintessential 90’s Norwegian black metal albums, has since nestled snugly into a restless kaleidoscope of melancholic, avant-garde music that ranges from synthpop, industrial, ambient, acoustic folk, and so on. The Ulver brand is built on consistent unpredictability, each new album a bold new frontier, and Ulver’s newest album, Neverland, continues this tradition.

Neverland shifts across a diverse range of moods through its runtime, never quite landing on a single tonal descriptor I might comfortably use to pigeonhole Neverland, which was surely the intention. It’s at times mysterious, brooding, and melancholic, and defiantly optimistic, musically manifesting in a variety of ways. There’s a strong emphasis on richly textured ambiance (“Weeping Stone,” “Horses of the Plough”), there’s a lot of glitchy industrial beats (“They’re Coming The Birds,” “Hark Hark The Dogs Bark”), and the highlight comes in funky, percussive synthwave (“People of the Hills,” “Fire in the End”). It’s worth noting that apart from some spoken poetry in the opener, Neverland is, in practice, a fully instrumental affair. It’s easy to miss Kristoffer Rygg’s vocals, which were always a highlight of any Ulver record, but Neverland is specifically written in a way that wouldn’t work with vocals. Neverland effectively utilizes free-form compositions, eschewing a structure that would benefit from vocals and focusing on the strength and depth of the musicality.

Neverland by Ulver

To that end, Neverland is largely carried by its sound design and tight, snappy electronics. Umpteen albums in and Ulver have fine-tuned their electronic craftsmanship down to a science, keeping Neverland’s percussion straightforward and simple while swathing them in effects and ambiance. Neverland’s songs are generally catchy: the Moonlight Sonata-esque piano sequence that leads into the dramatic, glitchy crescendo of “Elephant Trunk” has stuck with me since my first listen, and “Hark! Hark! The Dogs Do Bark!”‘s bass-heavy beat never disappoints. “People of the Hills” is, for my money Neverland’s strongest song, and one of my new favorite Ulver songs. Staccato synths prelude a disco funk bass-line and grease-slick drums before some guitars drop a ludicrously tasty synthwave chord. It’s a goddamn banger, and like all of Neverland, sounds great, but the sound design is allowed to shine brightest in an ambient track like “Weeping Stone.” It starts with a comfortable rumble of brown noise before the keyboards arrive with grand washes of color and a moonlit melody.

Still, while the ambient tracks sound great, they begin to present an issue in Neverland’s latter half. The momentum constructed in Neverland’s first half falters at the ambient “Horses of the Plough” and “Quivers in the Marrow,” which are placed too closely together, with “Pandora’s Box” in between them. While I like the dreamy feel and slick bass line of “Pandora’s Box,” it begins to drag on repeat listens since the greater part of the song is a lot of build-up. Sometimes I feel that there’s an imbalance between Neverland’s ambiance and beat-driven side. Some of the more immediate tracks, including ones I like such as “They’re Coming! The Birds!” and “People of the Hills,” can feel shorter when I wish they were longer, being slightly padded on either end with ambiance or build-up, which in turn makes the standalone ambient tracks feel longer, inviting impatience for the next, more engaging track. The faltering momentum does frustrate, but I struggle to maintain much annoyance on account of the closer, “Fire in the End.” Tonally similar to “People of the Hills” but injecting a healthy dose of drama into the funk, it closes Neverland on a high note that always leaves me feeling satisfied.

Anyway, pacing quibbles aside, Neverland is all in all a success. It’s an easy album to throw on and just sink into thanks to stellar sound design, with tons of highlight beats that will stick with you. While it’s not a career-defining achievement for Ulver, it is another worthy shade to add to Ulver’s ever-growing sonic kaleidoscope, one I would recommend to any who’s ever enjoyed that distinct, melancholic Ulver flavor in the past.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps
Label: House of Mythology
Websites: facebook | bandcamp
Releases Worldwide: December 31st, 2025

New Ulver album sounds great. #2026 #ulver #metal #music

New post: Surprise! Ulver drop new album ‘Neverland’ on New Year’s Eve https://moshville.co.uk/news/2026/01/surprise-ulver-drop-new-album-neverland-on-new-years-eve/ #Ulver

Schöner Einstieg in den Beginn vom #Jahresende: Das neue Album von #Ulver: „Neverland“. Sehr entspannt zu hören und geht in die Tiefe, das könnte ein neuer Ambient-Favorit für spacige Stunden werden.

#musikneuheiten #ambient #psychedelic

Die traurigen Musikrezensionswürste, die im November schon irgendwas von „Jahresrückblicken“ delirieren, dürfen sich gepflegt schämen: am 31.12. kommt das neue Album von #Ulver raus und Sie werden es leider nicht rechtzeitig hören, hihi.

#Wolven, #Wolves, #Loups, #Wölfe, #Lobos, #Lupi, #Wilki, #Волки, #Vargar, #Ulver, #Ulve, #भेड़िये, #بھیڑیے in #Eindhoven
#fotografie #photography #streetphotography #art #streetArt #graffiti #berenkuil #stepinthearena #acdsee photo studio ultimate #sony rx10 m4 Click4 Gallery:
https://eu.zonerama.com/fransvanbeers/Album/115954

#Ulver

#AvantGardeMetal

#Music

#Socialmedia

https://www.youtube.com/watch?v=FQAwlJfLia8&list=OLAK5uy_mR7UerTtZ-C2ZGMlQoH8ut-IB3672TWz8&index=5

https://www.youtube.com/watch?v=aQKbydw3vXc&list=OLAK5uy_mR7UerTtZ-C2ZGMlQoH8ut-IB3672TWz8&index=6