#ulver — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #ulver, aggregated by home.social.
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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 -
I remember the Trolsk Sortmetall box being announced for pre-order, back in 2014. I set my alarm at the right date and time, for a chance to get me one of the 3000 copies.
Only to find out Century Media failed to communicate the correct date, and opened pre-orders one week EARLIER. It got sold out within literally seconds. Many people were so pissed. I was one of them.
Glad to close this vinyl adventure twelve years later today. :')
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I remember the Trolsk Sortmetall box being announced for pre-order, back in 2014. I set my alarm at the right date and time, for a chance to get me one of the 3000 copies.
Only to find out Century Media failed to communicate the correct date, and opened pre-orders one week EARLIER. It got sold out within literally seconds. Many people were so pissed. I was one of them.
Glad to close this vinyl adventure twelve years later today. :')
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I remember the Trolsk Sortmetall box being announced for pre-order, back in 2014. I set my alarm at the right date and time, for a chance to get me one of the 3000 copies.
Only to find out Century Media failed to communicate the correct date, and opened pre-orders one week EARLIER. It got sold out within literally seconds. Many people were so pissed. I was ons if them.
Glad to close this vinyl adventure twelve years later today. :')
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I remember the Trolsk Sortmetall box being announced for pre-order, back in 2014. I set my alarm at the right date and time, for a chance to get me one of the 3000 copies.
Only to find out Century Media failed to communicate the correct date, and opened pre-orders one week EARLIER. It got sold out within literally seconds. Many people were so pissed. I was one of them.
Glad to close this vinyl adventure twelve years later today. :')
-
I remember the Trolsk Sortmetall box being announced for pre-order, back in 2014. I set my alarm at the right date and time, for a chance to get me one of the 3000 copies.
Only to find out Century Media failed to communicate the correct date, and opened pre-orders one week EARLIER. It got sold out within literally seconds. Many people were so pissed. I was one of them.
Glad to close this vinyl adventure twelve years later today. :')
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Today I attended worlds biggest record fair in Den Bosch. Hauled me some fine releases, both classics and favorites:
Ulver - ATGCLVLSSCAP
Sex Pistols - Nevermind The Bollocks...
New Order - Power Corruption and Lies
Swans - Filth
Vangelis - Blade Runner OST
Sonic Youth - Goo
Sonic Youth - Dirty
Ulver - Trolsk Sortmetall box, sealed M/M, criminally discounted in an up-for-grabs crate.#RecordFair #Ulver #SonicYouth #BladeRunner #DenBosch #OnlyAnalogIsReal #Vinyl #RSD #VinylRecords #CrateDigging
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Today I attended worlds biggest record fair in Den Bosch. Hauled me some fine releases, both classics and favorites:
Ulver - ATGCLVLSSCAP
Sex Pistols - Nevermind The Bollocks...
New Order - Power Corruption and Lies
Swans - Filth
Vangelis - Blade Runner OST
Sonic Youth - Goo
Sonic Youth - Dirty
Ulver - Trolsk Sortmetall box, sealed M/M, criminally discounted in an up-for-grabs crate.#RecordFair #Ulver #SonicYouth #BladeRunner #DenBosch #OnlyAnalogIsReal #Vinyl #RSD #VinylRecords #CrateDigging
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Today I attended worlds biggest record fair in Den Bosch. Hauled me some fine releases, both classics and favorites:
Ulver - ATGCLVLSSCAP
Sex Pistols - Nevermind The Bollocks...
New Order - Power Corruption and Lies
Swans - Filth
Vangelis - Blade Runner OST
Sonic Youth - Goo
Sonic Youth - Dirty
Ulver - Trolsk Sortmetall box, sealed M/M, criminally discounted in an up-for-grabs crate.#RecordFair #Ulver #SonicYouth #BladeRunner #DenBosch #OnlyAnalogIsReal #Vinyl #RSD #VinylRecords #CrateDigging
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Today I attended worlds biggest record fair in Den Bosch. Hauled me some fine releases, both classics and favorites:
Ulver - ATGCLVLSSCAP
Sex Pistols - Nevermind The Bollocks...
New Order - Power Corruption and Lies
Swans - Filth
Vangelis - Blade Runner OST
Sonic Youth - Goo
Sonic Youth - Dirty
Ulver - Trolsk Sortmetall box, sealed M/M, criminally discounted in an up-for-grabs crate.#RecordFair #Ulver #SonicYouth #BladeRunner #DenBosch #OnlyAnalogIsReal #Vinyl #RSD #VinylRecords #CrateDigging
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Today I attended worlds biggest record fair in Den Bosch. Hauled me some fine releases, both classics and favorites:
Ulver - ATGCLVLSSCAP
Sex Pistols - Nevermind The Bollocks...
New Order - Power Corruption and Lies
Swans - Filth
Vangelis - Blade Runner OST
Sonic Youth - Goo
Sonic Youth - Dirty
Ulver - Trolsk Sortmetall box, sealed M/M, criminally discounted in an up-for-grabs crate.#RecordFair #Ulver #SonicYouth #BladeRunner #DenBosch #OnlyAnalogIsReal #Vinyl #RSD #VinylRecords #CrateDigging
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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
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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
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Ulver release new single “Hollywood Babylon (remixed by Gazelle Twin):”
#Ulver #HollywoodBabylon #Remix #NewSingle
Link: https://metalinsider.net/video/ulver-release-new-single-hollywood-babylon-remixed-by-gazelle-twin
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Ulver release new single “Hollywood Babylon (remixed by Gazelle Twin):”
#Ulver #HollywoodBabylon #Remix #NewSingle
Link: https://metalinsider.net/video/ulver-release-new-single-hollywood-babylon-remixed-by-gazelle-twin
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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 -
https://www.europesays.com/nl/156735/ Mayhem – Liturgy of Death #Amusement #atilla #BlackMetal #CenturyMedia #DeMysteriisDomSathanas #Dutch #Entertainment #garm #ghul #hellhammer #LiturgyOfDeath #mayhem #Music #Muziek #necrobutcher #Nederland #Nederlanden #Nederlands #Netherlands #NL #teloch #ulver #ZwareMetalen
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I dag är det ju #BandcampFriday. Handlade Neverland av #Ulver, Early Music for Late Humanity av #VoxVulgaris och Impermanencia de los Asuntos av #NatsukoSugao; den sista då jag gillade beskrivningen och att man skall testa något nytt i bland.
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First new album in my ears this year: Ulver - Neverland
https://ulver.bandcamp.com/album/neverland
A mostly instrumental outing, continuing the progression of Ulver into their own weird and unique territory. That territory is definitely electronica these days with very little metal influence on show. Instead we get IDM, ambient and trip-hop influences with meandering post-rock song structures.
It's pretty good work music due to the lack of vocals, so I can see myself listening to this again plenty of times.
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First new album in my ears this year: Ulver - Neverland
https://ulver.bandcamp.com/album/neverland
A mostly instrumental outing, continuing the progression of Ulver into their own weird and unique territory. That territory is definitely electronica these days with very little metal influence on show. Instead we get IDM, ambient and trip-hop influences with meandering post-rock song structures.
It's pretty good work music due to the lack of vocals, so I can see myself listening to this again plenty of times.
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It might be sacrilege to say but am not sure if I like the new #Ulver album.
It's a bit to straight yet way too strange. Too much electronica at times.
Will give it a few more spins but not sure if will stick for me.
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Ulver – Neverland Review By Mystikus HugebeardHappy 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.
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
#2025 #30 #Darkwave #Dec25 #Electronic #Neverland #NorwegianMetal #Pop #Review #Reviews #Synthwave #Ulver
DR: 7 | Format Reviewed: 320 kbps
Label: House of Mythology
Websites: facebook | bandcamp
Releases Worldwide: December 31st, 2025 -
Ulver – Neverland Review By Mystikus HugebeardHappy 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.
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
#2025 #30 #Darkwave #Dec25 #Electronic #Neverland #NorwegianMetal #Pop #Review #Reviews #Synthwave #Ulver
DR: 7 | Format Reviewed: 320 kbps
Label: House of Mythology
Websites: facebook | bandcamp
Releases Worldwide: December 31st, 2025 -
Ulver – Neverland Review By Mystikus HugebeardHappy 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.
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
#2025 #30 #Darkwave #Dec25 #Electronic #Neverland #NorwegianMetal #Pop #Review #Reviews #Synthwave #Ulver
DR: 7 | Format Reviewed: 320 kbps
Label: House of Mythology
Websites: facebook | bandcamp
Releases Worldwide: December 31st, 2025 -
Ulver – Neverland Review By Mystikus HugebeardHappy 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.
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
#2025 #30 #Darkwave #Dec25 #Electronic #Neverland #NorwegianMetal #Pop #Review #Reviews #Synthwave #Ulver
DR: 7 | Format Reviewed: 320 kbps
Label: House of Mythology
Websites: facebook | bandcamp
Releases Worldwide: December 31st, 2025 -
Ulver – Neverland Review By Mystikus HugebeardHappy 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.
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
#2025 #30 #Darkwave #Dec25 #Electronic #Neverland #NorwegianMetal #Pop #Review #Reviews #Synthwave #Ulver
DR: 7 | Format Reviewed: 320 kbps
Label: House of Mythology
Websites: facebook | bandcamp
Releases Worldwide: December 31st, 2025 -
Recensioni ✍️ 👤 Ulver 🔗 Neverland 5️⃣.5️⃣ 💿 2025 (House Of Mythology) #️⃣ Progressiveelectronic Ambient I lupi norvegesi si riscoprono naufraghi su rinnovati territori ambient-elettronici a cura di Paolo Chemnitz #Ondarock #MusicianSky #MusicSky #Music
Neverland - Album by Ulver | S... -
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
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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.
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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.
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https://www.europesays.com/nl/53033/ Kauan – Wayhome | Zware Metalen #2025 #agalloch #alcest #Amusement #anathema #ArtoffactRecords #atmospheric #AtmosphericPostRock #atoma #doom #Dutch #eldamar #empyrium #Entertainment #finland #kauan #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #PostRock #recensie #saturnus #sólstafir #tenhi #ulver #wayhome #ZwareMetalen
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#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 -
#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 -
#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 -
#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 -
#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 -
https://www.europesays.com/nl/42630/ Perturbator – Age of Aquarius #AgeOfAquarius #albumrecensie #alcest #Amusement #Author&Punisher #Dutch #Entertainment #JamesKent #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #NuclearBlast #perturbator #synthwave #TheArtOfWar #ulver #ZwareMetalen
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https://www.europesays.com/uk/267350/ Oskoreien – Hollow Fangs Review #2025 #3.5 #Agalloch #AmericanMetal #BlackMetal #Entertainment #HollowFangs #Jul25 #MelodicBlackMetal #music #Oskoreien #Review #Reviews #SelfReleased #SpectralWound #UK #Ulver #UnitedKingdom
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Oskoreien – Hollow Fangs Review
By Owlswald
Atmosphere is a hallmark of great black metal, but for California’s Oskoreien it’s only half the story. Composer and multi-instrumentalist Jay Valena’s long-running black metal project serves as an auditory exploration of complex theoretical themes. 2010’s self-titled debut—an earlier EP version AMG Himself lauded—channeled the atmospheric and acoustic black textures of Ulver and Agalloch into a deep contemplation of a nihilistic existence. Six years later, concept album All Too Human found Valena honing his craft, elevating Oskoreien’s sound into a masterful post-black narrative. It unraveled the fallacy of free will through the chilling story of Charles Whitman.1 This bold, forward-thinking approach garnered significant acclaim and firmly positioned Oskoreien on the map. Valena now returns with Oskoreien’s third album, Hollow Fangs, another heavy dose of atmospheric, cerebral black metal after nine long years of silence. And this time, it’s plunging its teeth into the destructive currents of human consciousness and the accompanying anguish of finding meaning within a chaotic, deceptive world.
Hollow Fangs finds Oskoreien refining its sound into a powerful black metal fusion. Strengthened by the addition of guitarist Rashid Nadjib (Wovoka) and bassist Matthew Durkee,2 the trio skillfully marries the visceral force of groups like Spectral Wound with expansive post-black melodies, creating engaging black metal that feels both familiar and distinctly their own. Torrents of wild, tremolo-picked guitars interlock with vigorous blast beats, powering Hollow Fangs’ incisive bite. While recognizable black foundations provide a consistent anchor, Oskoreien employs unexpected deviations to forge rich, dynamic textures that guide the listener through distinct emotional arcs. Attention-grabbing riffs, including head-bobbing melodeath grooves (“Bernalillo Sunrise”), intricate thrash patterns (“Fragments”), and somber, doom-laden chords (“Psychoticism”), give way to waves of cascading, shoegaze-infused guitar leads (“Fragments,” “Bernalillo Sunrise”) that fuel emotional crescendos. Hollow Fang’s compositions smartly transcend their otherwise modest formulas, employing appealing harmonies and intelligent chord progressions to inject the album’s thirty-nine minutes with dynamism and profound emotional weight.
A defining characteristic of Oskoreien’s songwriting is the sophisticated interplay between tension and release, built by the guitars’ dissonant elements to underscore Hollow Fangs’ pervasive sense of turmoil and apprehension. Intense passages culminate in cathartic payoffs which expertly contrast intensity with emotional release and hope. Oskoreien’s poignant guitar melodies convey this. The chaotic and violent tremolo-fueled blast beats in “To Kiss the Viper’s Fang” give way to a somber, arpeggiated bridge with an almost acoustic feel, offering relief before re-engaging with another bout of powerful riffing. “Fragments” and “Prismatic Reason” immediately establish their dark and menacing atmospheres with arpeggiated, anxiety-ridden high guitar runs and washing distortion before transitioning to beautiful guitar leads that inject much-needed liberation and light. Even Durkee’s bass steps forward at times, adding another layer of depth as it ascends into higher registers—a playful counterpoint to Hollow Fang’s dissonant textures (“Fragments,” “Bernalillo Sunrise”).
Hollow Fangs’ production significantly bolsters the strength of Oskoreien’s compositions. Valena’s spectral rasps sound great, prominently featured in the guitar-dominant mix, which amplifies the album’s darker, unsettling moods. Although the programmed drums are largely generic and unexciting, their distinction in the mix is a notable step up. Durkee’s robust bass presence also materially contributes to the album’s expressive effect. Even so, Hollow Fangs still has room for growth. The album’s bookends, “Prismatic Reason” and “To Kiss the Viper’s Fang” feel a bit overlong, with “Prismatic Reason” also lacking the potency of the album’s other tracks. Furthermore, the payoff in the latter half of “Bernalillo Sunrise” lands somewhat flat despite its excellent, tension-building tom transition full of foreboding.
Still, Hollow Fangs stands as unquestionable proof that Oskoreien is alive and well. While some tracks overstay their welcome and the album doesn’t quite take the same evolutionary leap forward as its predecessor, Hollow Fangs nevertheless delivers a hefty dose of quality black metal. The emphasis on dynamic songwriting—achieved through varied tempos, textures, and instrumental interplay—creates moments of crushing ferocity and vast melodic emotional depth, with soaring, triumphant melodies that counterbalance each other perfectly. Almost a decade between releases can rightfully derail bands, but Oskoreien has defied this trend, producing an aggressive yet appealing black metal album that offers fans plenty to sink their teeth into.
Rating: Very Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: July 18, 2025#2025 #35 #Agalloch #AmericanMetal #BlackMetal #HollowFangs #Jul25 #MelodicBlackMetal #Oskoreien #Review #Reviews #SelfReleased #SpectralWound #Ulver
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Oskoreien – Hollow Fangs Review
By Owlswald
Atmosphere is a hallmark of great black metal, but for California’s Oskoreien it’s only half the story. Composer and multi-instrumentalist Jay Valena’s long-running black metal project serves as an auditory exploration of complex theoretical themes. 2010’s self-titled debut—an earlier EP version AMG Himself lauded—channeled the atmospheric and acoustic black textures of Ulver and Agalloch into a deep contemplation of a nihilistic existence. Six years later, concept album All Too Human found Valena honing his craft, elevating Oskoreien’s sound into a masterful post-black narrative. It unraveled the fallacy of free will through the chilling story of Charles Whitman.1 This bold, forward-thinking approach garnered significant acclaim and firmly positioned Oskoreien on the map. Valena now returns with Oskoreien’s third album, Hollow Fangs, another heavy dose of atmospheric, cerebral black metal after nine long years of silence. And this time, it’s plunging its teeth into the destructive currents of human consciousness and the accompanying anguish of finding meaning within a chaotic, deceptive world.
Hollow Fangs finds Oskoreien refining its sound into a powerful black metal fusion. Strengthened by the addition of guitarist Rashid Nadjib (Wovoka) and bassist Matthew Durkee,2 the trio skillfully marries the visceral force of groups like Spectral Wound with expansive post-black melodies, creating engaging black metal that feels both familiar and distinctly their own. Torrents of wild, tremolo-picked guitars interlock with vigorous blast beats, powering Hollow Fangs’ incisive bite. While recognizable black foundations provide a consistent anchor, Oskoreien employs unexpected deviations to forge rich, dynamic textures that guide the listener through distinct emotional arcs. Attention-grabbing riffs, including head-bobbing melodeath grooves (“Bernalillo Sunrise”), intricate thrash patterns (“Fragments”), and somber, doom-laden chords (“Psychoticism”), give way to waves of cascading, shoegaze-infused guitar leads (“Fragments,” “Bernalillo Sunrise”) that fuel emotional crescendos. Hollow Fang’s compositions smartly transcend their otherwise modest formulas, employing appealing harmonies and intelligent chord progressions to inject the album’s thirty-nine minutes with dynamism and profound emotional weight.
A defining characteristic of Oskoreien’s songwriting is the sophisticated interplay between tension and release, built by the guitars’ dissonant elements to underscore Hollow Fangs’ pervasive sense of turmoil and apprehension. Intense passages culminate in cathartic payoffs which expertly contrast intensity with emotional release and hope. Oskoreien’s poignant guitar melodies convey this. The chaotic and violent tremolo-fueled blast beats in “To Kiss the Viper’s Fang” give way to a somber, arpeggiated bridge with an almost acoustic feel, offering relief before re-engaging with another bout of powerful riffing. “Fragments” and “Prismatic Reason” immediately establish their dark and menacing atmospheres with arpeggiated, anxiety-ridden high guitar runs and washing distortion before transitioning to beautiful guitar leads that inject much-needed liberation and light. Even Durkee’s bass steps forward at times, adding another layer of depth as it ascends into higher registers—a playful counterpoint to Hollow Fang’s dissonant textures (“Fragments,” “Bernalillo Sunrise”).
Hollow Fangs’ production significantly bolsters the strength of Oskoreien’s compositions. Valena’s spectral rasps sound great, prominently featured in the guitar-dominant mix, which amplifies the album’s darker, unsettling moods. Although the programmed drums are largely generic and unexciting, their distinction in the mix is a notable step up. Durkee’s robust bass presence also materially contributes to the album’s expressive effect. Even so, Hollow Fangs still has room for growth. The album’s bookends, “Prismatic Reason” and “To Kiss the Viper’s Fang” feel a bit overlong, with “Prismatic Reason” also lacking the potency of the album’s other tracks. Furthermore, the payoff in the latter half of “Bernalillo Sunrise” lands somewhat flat despite its excellent, tension-building tom transition full of foreboding.
Still, Hollow Fangs stands as unquestionable proof that Oskoreien is alive and well. While some tracks overstay their welcome and the album doesn’t quite take the same evolutionary leap forward as its predecessor, Hollow Fangs nevertheless delivers a hefty dose of quality black metal. The emphasis on dynamic songwriting—achieved through varied tempos, textures, and instrumental interplay—creates moments of crushing ferocity and vast melodic emotional depth, with soaring, triumphant melodies that counterbalance each other perfectly. Almost a decade between releases can rightfully derail bands, but Oskoreien has defied this trend, producing an aggressive yet appealing black metal album that offers fans plenty to sink their teeth into.
Rating: Very Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: July 18, 2025#2025 #35 #Agalloch #AmericanMetal #BlackMetal #HollowFangs #Jul25 #MelodicBlackMetal #Oskoreien #Review #Reviews #SelfReleased #SpectralWound #Ulver
