SPKR/Artists/Ulver products

Ulver - Neverland from 12.48 $

Fri, 10 Jul 2026 10:37:49 +0200

"Neverland", the fourteenth studio album by ULVER is the sound of an escape. A journey into undiscovered lands.

Following three albums – "The Assassination of Julius Caesar" (2017), "Flowers of Evil" (2020), and "Liminal Animals" (2024) – rooted in more traditional song and production structures, "Neverland" marks a new chapter in the revered Oslo band's history.

"With 'Neverland' we embraced a more 'punk' spirit – more dreaming, less discipline – freer, quite simply", the band comments on the creative process behind the album.

Bursts of daybreak synths and whooshes of sound set the atmosphere, before the wolves start digging into the dynamics of ambient calm and anarchic mysticism. Dreamy and transportive textures develop into trippy percussive energies, and as the album unfolds, a lush and vibrant, and at times exotic space opens.

Apart from a few recurring distant voices and vocal chops, "Neverland" is a largely instrumental record, reminiscent of the mood and structure of that place where late '90s IDM sounds met the meandering structures of post-rock.

The ghost of premillennial sample culture surely haunts "Neverland", and some might even hear echoes from earlier acclaimed works like "Perdition City" (2000), or the "Silence" EPs (2001), or more recently "ATGCLVLSSCAP" (2016).

Still, "Neverland" sounds and feels like something else, something fresh in ULVER's continuous journey of perennial reinvention. Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It's up to you.

Tracklist:
01. Fear in a Handful of Dust
02. Elephant Trunk
03. Weeping Stone
04. People of the Hills
05. They're Coming! The Birds!
06. Hark! Hark! The Dogs Do Bark
07. Horses of the Plough
08. Pandora's Box
09. Quivers in the Marrow
10. Welcome to the Jungle
11. Fire in the End

Ulver - Neverland 47.99 $

Fri, 01 May 2026 01:20:03 +0200

Ulver - Neverland 17.27 $

Thu, 02 Jul 2026 09:20:07 +0200

Ulver - Neverland 17.27 $

Sat, 04 Jul 2026 21:22:40 +0200

Ulver - Liminal Animals from 13.43 $

Sun, 12 Jul 2026 22:50:07 +0200

AT THE END OF THE ROUGHEST YEAR in their history, Ulver is proud to release their thirteenth studio album, titled Liminal Animals.
Spin back one year. Almost out of nowhere, Ulver starts to drop new songs, sometimes one, sometimes two at the time, like the spectre and its cruel shadow. They are on a roll, doing whatever they want to, and with no immediate or strict concept other than to keep the beast alive.
“Quite liberating in these twilight years”, they said.
But as the pieces are laid out, the songs start to shape a world of their own. Creatures abound. Ghosts and spiders, gods and sheep. Flocks, swarms, and sensations. (See The Senseless Seven, Austin Osman Spare’s drawn self-portrait on the album cover.) There’s something in the air. Liminal Animals is permeated by the smell of disaster and documents, with deep concern, a dark and troubled place in a dark and troubled time. Yes, in the vast Ulver catalogue, now dating back 30 years, it wouldn’t be hard to argue that Liminal Animals can be seen as a continuation of its acclaimed predecessors The Assassination of Julius Caesar (2017) and Flowers of Evil (2020).
This time around, though, their reflections on the overwhelming confusion and conflict seem to have become more pronounced and explicit, as if the songs were born out of the acute intensity of the current situation.
What in the world is happening now?
Musically, the album opener ‘Ghost Entry’, which broke the silence almost one year ago, could indeed be seen as taking a lead from their previous albums. But Liminal Animals soon reveals itself to also be a reflection on their deeper history. The guitar and bass driven second track, ‘A City in the Skies’, might hint at the rockier moments of their Blood Inside album (2005), whereas the soothing, melancholic ‘Forgive Us’, featuring world-renowned trumpet player Nils Petter Molvær, and the smouldering ‘Locusts’ could have been relics from the years between Shadows of the Sun (2007) and Wars of the Roses (2011). Similarly, the album’s two haunted nocturnes could have been secret
transmissions from Ulver’s earlier electronic ambient oeuvre or the stellar experiments on ATGCLVLSSCAP (2016).
And one could go on like this, and never really hit the mark. What about the B-side opener, the infectious and anthemic ‘Hollywood Babylon’, or the final single ‘The Red Light’, both showcasing Stian Westerhus’s inventive guitar work, and among Ulver’s catchiest moments?
Liminal Animals feels and sounds like a record made by a band being on a threshold. Set in a perfect storm.
There’s no way around this: as the making of Liminal Animals commenced in 2022, Tore Ylvisaker, sound wizard, keyboardist, and a core member since 1997, had gradually drifted away from the pack. Initially to pursue other endeavours, before removing himself completely from the workings of the band. Everyone still reading knows what happened in August, as the rest of the pack was about to end the recording sessions. The absence of brother Tore, to whom Liminal Animals is dedicated, will forever haunt these tracks.
There’s a final song in here, too. ‘Helian’, a dark and intoxicated, 11-minute track, recorded in September, and featuring Jørn H. Sværen’s reading of the dreamlike and on the verge of delirious long poem by Georg Trakl (1887–1914). It is the eulogy no one could have expected, revealing Ulver’s continued exploration of groove, repetition, and texture. It is, I think, the inevitable rite of passage, a journey to the borders of language and the disintegrating form. Into the unknown.
As the intense flow of words ceases and the crackling beats and sounds recede, ‘Helian’ feels like the fulfilment of a promise. Wolves Evolve.
Where to go from here?

Tracklist:
1. Ghost Entry
2. A City in the Skies
3. Forgive Us (feat. Nils Petter Molvær)
4. Nocturne #1
5. Locusts
6. Hollywood Babylon
7. The Red Light
8. Nocturne #2
9. Helian (Trakl)

Ulver - Perdition City from 13.43 $

Sun, 12 Jul 2026 23:00:03 +0200

House of Mythology is excited to unveil the highly anticipated 2024 reissue of Ulver’s fifth studio album Perdition City (2000)" – “a pinnacle of turn of the millennium musical experimentalism” – containing elements of trip hop, jazz, spoken word, ambient and electronica. Perdition City challenges conventional song structures, with several tracks acting as evocative soundtracks for an "interior film”, offering listeners a deeply personal and cinematic experience. As added frosting, this DLP includes the Metamorphosis EP (1999) on its D-side.
Perdition City will come on 2 x 180-gram vinyl, a thick (350gsm) gatefold sleeve. Each LP housed in white poly-lined disco bags and packaged outside the sleeve to ensure pristine condition upon arrival. All secured within a protective plastic sleeve.

The quintessential city-by-night album.

Tracklist:
01. Lost in Moments
02. Porn Piece or the Scars of Cold Kisses
03. Hallways of Always
04. Tomorrow Never Knows
05. The Future Sound of Music
06. We Are the Dead
07. Dead City Centres
08. Catalept
09. Nowhere/Catastrophe
10. Of Wolves & Vibrancy
11- Gnosis
12. Limbo Central
13. Of Wolves & Withdrawal

Ulver - Grieghallen 20180528 Live from 9.58 $

Tue, 26 May 2026 15:40:03 +0200

House of Mythology proudly presents the official release of Ulver’s monumental Grieghallen concert from the 2018 Bergen International Festival.

Grieghallen 20180528 documents the pinnacle of Ulver’s 2017–2018 touring cycle, following the release of their landmark album The Assassination of Julius Caesar. A massive explosion of sound and light went off in Bergen that night, leaving the baffled audience floating somewhere between pleasure and fear.

Professionally multitracked by the Bright AS stage tech team, Kristoffer Rygg and Anders Møller were asked to mix the tracks for the 2020 “streaming edition” of the same festival. After having circulated as a YouTube bootleg, it is now being made official partly due to popular demand, and partly because we think of it as a magnificent companion piece to the studio version of Caesar – showing Ulver at the height of their live game.

Tracklist:
01. Nemoralia
02. Southern Gothic
03. 1969
04. So Falls the World
05. Rolling Stone
06. Echo Chamber (Room of Tears)
07. Transverberation
08. Angelus Novus
09 .Bring Out Your Dead
10. Coming Home

Ulver - Blood Inside from 13.43 $

Mon, 13 Jul 2026 13:03:25 +0200

Ulver's Blood-Red Baroque 'n' Roll Album turns 18!

Hailed by critics and clerics upon its release, and described by the band as a maelstrom full of wreckage, it is undoubtedly their most byzantine and excessive work to date. A trip through the lavish void. Comes with printed inner sleeve, 4-page insert containing previously unpublished photos, liner notes by Dan Franklin and a testimonial by Toby Driver. Incl. Poster.

Ulver - Shadows Of The Sun from 13.43 $

Mon, 13 Jul 2026 13:03:47 +0200

Eleven years and eleven revolutions around the sun. There have been deaths and pregnancies, victories and chance encounters. Too many sombre news bulletins and retrenchment notices. Through it all, earth’s orbit, the night sky and music. In whichever ways, we recount this traversal of elapsing time and we have come far. So too has Ulver.
Since the 2007 release of Shadows of the Sun, the Oslobased collective has busied themselves broadening the grounds of their multi-dimensional, multiconfessional church. Once limited to the studio, the indefatigable Norwegians these days command the stage, crossing continents and oceans delivering a surreal and visually transfixing live act.
Once described by Kristoffer Rygg, Ulver’s founder, as their “most personal record to date,” first-time Shadows listeners will find neither the dance-floor subversives of Julius Caesar nor the dense hallucinatory grooves of ATGCLVLSSCAP, recent works that have swelled the ranks and given rise to a handsome new generation of wolf pups.
More than a decade on, Ulver’s seventh studio album arguably remains their most personal, a decidedly interior account of grand cosmic indifference. It explores the familiars of life and death, love and loss – but from the furthermost purview. All the electricity of life, playing out as perfect circles on a mote of dust suspended in a sunbeam. We are captive to its long shadows.
Shadows of the Sun is a meditation on all the crosses we collectively carry and the folly of carrying them. It is a pensive, quiet work singularly committed to an aesthetic of beauty. We find in it the melancholic grace that would later blossom to the fore in 2013’s Messe I.X–VI.X. Though it is, by no means, an embryonic affair. Revisiting these sounds in 2018, one is struck in equal measure by their elegance and grandeur, restraint and simplicity.
One encounters consolatory string arrangements on a spectral sea of electronics. The soft dance of fingers along the mouth of a piano. A tremendous depth of feeling with each waving crescendo or soft reverberation. Divine outbreaks of a trumpet’s blare. Only occasionally are we confronted with glimpses of a discordant underbelly, the prospect of decay and menace of less hospitable soundscapes. Where there are forays into rhythm, subtle percussion crashes and amplifies the emotional undercurrent.
At the helm are Rygg, Jørn H. Sværen and Tore Ylwizaker, who have been Ulver’s creative core from the heady metamorphoses of the late 90s through to the present. The trusty triumvirate are joined by a string quartet and guest musicians, the likes of Austrian electronic music legend Christian Fennesz, renowned theremin sage Pamelia Kurstin, Norwegian jazz musician Mathias Eick, among others whose contributions enrich the album’s distinctive sheen.
Among these warm, sonic arrangements – mostly linear constructs that unite variants of looping electronics with crisp organic instrumentation – there are glimmers of baroque pop in Rygg’s vocal work, often delivered in the lower register. Each word uttered a negotiation: between loss, questions and the oftenuneasy terms of their acceptance. A cover of Black Sabbath’s downtrodden classic, “Solitude”, is right at home in its folds.
Didrik Søderlind, a Norwegian journalist and author, remarked back in 2007 that these songs of loss and disillusion amounted to Ulver giving their fears “a shapely form,” an approach “capable, perhaps, of bringing a little comfort to some.” It is evident that this album came together under the weight of very personal trials. Søderlind rightly identifies qualities of a sombre empathy at work in this music, imbuing certain moments with deep emotional resonance.
Shadows of the Sun possesses a power to prompt reflection like few things do, particularly where existential matters are concerned. We, too, may come to take the furthermost purview. The Ankole, an East-African bull whose mesmerizing lyreshaped horns grace the album’s stunning cover art, are a dying breed expected to disappear within decades. Our own sun fares somewhat better in this equation. It will be several billion years before it swells nearly a hundred times its current diameter in a spectacular last hurrah.

Ample time to wonder: “What happened to us here?”

– NILE BOWIE, FEBRUARY 2018

Ulver - Scary Muzak from 12.48 $

Sat, 13 Jun 2026 13:40:08 +0200

Knock, knock. The most terrifying of all terrifying nights is here, and they are back, ready to make your skin crawl.

But first, rewind exactly one year. Enter the newly restored 1920s cinema at Frogner in Oslo. Frescoed stars, cobweb, myrrh, and pumpkins. On the big screen: John Carpenter’s cult classic Halloween (1978). In the pit: Ulver, performing a reimagined version of the iconic score. A surprising and timely one-off right before the capital city shut down for real.

After the lights were turned off that evening, the All Hallows’ Eve quartet – Ole Alexander Halstensgård, Kristoffer Rygg, Tore Ylwizaker and Stian Westerhus – went full isolation in their studio below the haunted hill, fantasizing about bygone nights of slasher, exploitation, and giallo. Three or four months went by, the band returned to the living, and sent their radiophonic workshop experiments off to the Dogs of Doom, France, where friend and fellow film freak, Carpenter Brut did a razor-sharp mix before taking it to Thibault Chaumont (Deviant Lab) for the master.

Scary Muzak, on one hand a homage to Carpenter’s themes – five out of twelve tracks are covers whereas the rest comes from the outer realms – and on the other zooming out on the aesthetics of the late ’70s and early ’80s popular culture. It is perhaps the Norwegians’ most hauntological moment, whirling up themes and moods, horrors and mysteries hidden in the foggy back alleys of your youth. Imagine the gloomy siblings of Les Humphries, Gert Wilden, and their respective orchestras, armed to their teeth with synths, pads, FX. Sometimes classy and chilling, other times amusingly smooth and sleazy, and at times outright beautiful in its suspense-filled vigour, Scary Muzak is an inspired, goblinesque addition to the ever-expanding Ulver catalogue. Interior films, remember?

It’s Halloween, and everyone’s entitled to one good scare.

Ulver - Sic Transit Gloria Mundi from 6.71 $

Tue, 07 Jul 2026 10:40:07 +0200

Ulver - Sic Transit Gloria Mundi EP The sad remains from our Caesarean banquet. Two songs we kind of left on the drawing board but resumed work on this summer. Additionally, a cover of a childhood favourite – one we actually started some twelve–thirteen years ago – from the time we first started thinking about making “pop” music. This EP was finalized in our new studio in the old town of Oslo in September, and sent off to Youth's (Martin Glover and Michael Rendall) in London in October, for imperial sound quality. Mastered this week by The Bricoleur. Cover shows Francis Bacon's Study After Velásquez's Portrait of Pope Innocent X (1953), used with kind permission of Des Moines Art Center. Design by Paschalis Zervas, +wolframgrafik.
Ulver, The Colony Room, November 11 2017

Ulver - The Assassination of Julius Caesar from 13.43 $

Mon, 13 Jul 2026 15:40:07 +0200

31 August 1997 was one of the hottest nights in Paris that year. Just after midnight a black Mercedes Benz rushes through the dark streets with a horde of ravenous paparazzi on tow. In the Pont de l'Alma tunnel the car swerves into a roof-supporting pillar and in the echo of the metallic roar dies Diana, the Princess of Wales. The world has lost one of its greatest icons and the morbidity of popular culture hits a new high. The story is strangely resonant with the myth of the Greek goddess Artemis (Roman: Diana) and the hunter Actaeon, who, after having seen the goddess bathing naked, is turned into a stag and torn to pieces by his own hunting hounds. This picture opens Ulver's 13th album, The Assassination of Julius Caesar.

Such historical quantum leaps often occur in Ulver's musical universe, which has never been bound by any physical law. And the band's unruly play with myth, history and popular culture has never been more manifest than now. From the assassination attempt against Pope John Paul II on one day in May 1981, to the queer, black house with the address 6114 California Street, San Francisco, better known as the headquarters of Anton LaVey's Church of Satan - Ulver moves seamlessly through time and space, and manages, in their own strange ways, to create a coherent tableau with a deeply personal backdrop. "I want to tell you something / about the grace of faded things," as it goes in the song "Southern Gothic".

Those familiar with this stubborn pack of wolves from Oslo will not be surprised that they also this time round are shifting shape. Never afraid of challenging or redefining current musical conventions, Ulver has now enacted what they are calling "their pop album". You don't have to worry about vexing radio humdrum or pastel ear candy though - Talk Talk and Music Machine are pop music as good as any in the universe of Ulver. A universe where "pop" is more a mark of distinction, denoting immediacy and possible body movement. Factory Records and Welcome to the Pleasuredome. The Assassination of Julius Caesar is an album the band has been longing to do for many years, to delve into the music of their childhood, along with the now fading memories and drifting clouds of romance.

After the (to them) surprising success of last year's hybrid ATGCLVLSSCAP, released on the recently established House of Mythology, the way was eventually cleared for a full status studio album from Ulver. Not since Shadows of the Sun, now ten years of age, has the band worked under such clearly defined criteria, staying true to an aesthetics. Such music is never easily conceived, but Ulver's unyielding ethos of following their instincts has again showed them the way. Fear of repetition and standstill is just as instinctive in the mind of this group as hunger is for their counterparts in nature.

The core crew behind this album is Kristoffer Rygg, Jørn H. Sværen and Tore Ylwizaker, in company with Ole Alexander Halstensgård, who has also been an important contributor to earlier albums. As usual, there are prominent guests, the renowned experimental guitarist Stian Westerhus puts his personal signature on several tracks, the same goes for associated members Anders Møller and Daniel O'Sullivan. Legendary Hawkwind shaman Nik Turner adds his sax to "Rolling Stone".

The Assassination of Julius Caesar is mixed by Martin "Youth" Glover, known from bands such as Killing Joke and The Fireman (with Paul McCartney), plus producer of The Verve's "Bitter Sweet Symphony" and many other major players. The result is epic and wide-scoped as a historical drama, without ever mollycoddling the listener.

"What have I done to leave you here," asks vocalist and primus motor Kristoffer Rygg on the last track, "Coming Home". Since Ulver was formed a quarter of a century ago, their musical odyssey has taken them round the world in many shapes. This year will see them perform in select places with a new spectacular live production. And even if Ulver might have brought home the game with their most ambitious and majestic work thus far, rest assured that the wolves will keep on following you through the night.

Tracklist:
1. Nemoralia
2. Rolling Stone
3. So Falls the World
4. Southern Gothic
5. Angelus Novus
6. Transverberation
7. 1969
8. Coming Home

Ulver - Drone Activity 13.43 $

Tue, 07 Jul 2026 10:46:32 +0200

It all happened in a haze. I am not sure everyone was prepared to obey the summons and forsake the shore in order to be pulled under by the loudness of sound. Yet the ethos on that crisp October night was clear in its wording: Drone Activity.

Upon entering the old fish-warehouse, now converted into an activity hall, on the new Oslo waterfront, the security guards barely cared to check our tickets. Even mammoths would have been able to hide in this enormous dark space, illuminated by a few logos and stalls of sugary drinks, about to disappear in a sea of smoke.

Disappearance comes in many shapes in the age of extinction. Following the Danish noise act Damien Dubrovnik, Ulver started out in a subtle manner, carefully examining the territory, vast and waste. Screeching sounds echoed distant roars from the approaching edge as snowflakes pierced the air with ferocious speed. Where to go from there?

A retreat into the sunken paradise. Half-buried misty temples, giant creatures and vaguely prehistoric figures emerged as depth and time intertwined, from the ancient Atlantis to the northernmost seas.

We stayed there for 90 minutes, of which 70 have been meticulously mixed and mastered for this release. All of them are new sounds. Darker and more dire, yet containing the vibe of their previous semi-improvisatory sessions, documented and catalogued on the “Zodiac” album, ATGCLVLSSCAP (2016).

If that Zodiac album was a free-form Ulver interpreting the signs in the stars, Drone Activity stares into the abyss, documenting those moments after the last rays of sun speckle the surface and careless subterranean streams start determining the course.

“Something murky and liminal emerged, in sound and space,” the band states in their liner notes. I can’t think of a more apt description of what, and to where, Ulver brought us that night. There is no shoreline a thousand feet down.

TORE ENGELSEN ESPEDAL,
on the ferry from Naples to Palermo, March 2019

Ulver - ATGCLVLSSCAP 13.43 $

Tue, 07 Jul 2026 10:40:06 +0200

ATGCLVLSSCAP is progressive in the truest sense of the word

House of Mythology proudly presents the new Ulver gatefold double album vinyl (also available on CD), with over 80 minutes worth of material. This album consists of multitracked and studio-enhanced live, mostly improvisational, rock and electronic soundscapes, 2/3 of which has never been heard before.

The basis for ATGCLVLSSCAP arrives from recordings made at twelve different live shows that Ulver performed in February 2014 with an improvisatory approach. As Kristoffer Rygg, the prime mover of the band since its inception, puts it wryly, "The tour was to be an experiment, kind of loose and scary for a band as 'set in their ways' as us."

Once the tour was over, it was down to his bandmate Daniel O'Sullivan to take charge of these multitrack recordings in London. Anders Møller, Kristoffer Rygg and Tore Ylwizaker got involved a bit later from their end in Oslo. What resulted is the widescreen sweep and atmospheric splendour of ATGCLVLSSCAP, ultimately a piece of work that exists above and beyond any conventional live recording.

As always in the world of Ulver, influences are diverse, yet as Rygg notes, "There are clear nods to sounds from the past." Many of these dwell in progressive, electronic and krautrock realms, heralding a lifelong love within the band for the music of the 70s. Even when the band revisits an earlier gem from 2000's Perdition City album, as on 'Nowhere (Sweet Sixteen)', it's reinvigorated by their expansive and emotionally charged approach.

Shaking up their creative process, the band have summoned up a unique testimony to the creative power of a mighty force free of genre or convention. ATGCLVLSSCAP is progressive in the truest sense of the word.

Release date: 22.01.2016

Editions:
- CD
- limited gatefold LP (180g vinyl, black) incl. protection sleeve
- limited gatefold LP (180g vinyl, weiß) incl. protection sleeve; ONLY AVAILABLE AT THE SPKR ONLINE SHOP

Tracklist:
1. England's Hidden
2. Glammer Hammer
3. Moody Stix
4. Cromagnosis
5. The Spirits That Lend Strength Are Invisible
6. Om Hanumate Namah
7. Desert/Dawn
8. D-Day Drone
9. Gold Beach
10. Nowhere (Sweet Sixteen)
11. Ecclesiastes (A Vernal Catnap)
12. Solaris

Ulver - Riverhead OST 13.43 $

Fri, 03 Jul 2026 09:14:13 +0200

Riverhead is the original score to a film by Justin Oakey. A hushed, airy and ominous soundtrack from the Norwegian masters ULVER, touching on Nordic and Celtic folk music from within an ambient/atmospheric frame.

THE STORY
The North Shore is a particular coastline on the island of Newfoundland that has been in various stages of settlement since the 1500s – it is said to be one of the oldest North American settlements. As Irish and English settlers formed communities, centuries of secular feuding in Europe were inevitably rediscovered in this new land and lead to many years of fighting, rioting, and murder. As a Newfoundlander with deep roots on the island, my family has experienced this conflict first-hand and often tell stories of their rival outports, even warning me to stay away from certain communities as a child. This is the backdrop for RIVERHEAD – an area with a fragile coexistence between communities, where inherited feuds can resurface at any moment.

THE SOUNDTRACK
Late last fall I sent Kristoffer Rygg my latest short film, FLANKERS, and we began chatting about the soundtrack, eventually going back and forth about a potential collaboration. At this point, I went out on a limb and asked if ULVER would be interested in composing the music for my upcoming feature, RIVERHEAD. They kindly accepted and here is the result. As a long-time fan, this was an incredible collaboration for me – and further, it allowed us to find aesthetic and cultural similarities between our lands. With this in mind, the soundtrack certainly touches on Nordic and Celtic folk music from within an ambient/atmospheric frame.

There was a mutual understanding that the soundtrack should be hushed, airy and ominous, almost elemental in its minimalism, with only a few key moments that rupture into larger, more augmented pieces. As far as the method, ULVER started by recording and sending over some sketches and atmospheres before we shot a single scene of the film. This allowed me to go into the filming with an understanding of the soundtrack, and how the scenes could (and would) be paced – truly an invaluable asset, especially with a fragmented film like this. Afterwards, they continued to record and we fine-tuned said sketches as well as some new pieces together. Ultimately, I am as proud of this collaboration as a standalone project as I am with the film itself.

– Justin Oakey, L'Anse aux Meadows, September 2016

Available editions:
- CD Jewelcase
- LP (180g vinyl, black) incl. 4-page insert
- LP (180 vinyl, silver) incl. 4-page insert; limited to 100 copies and only available at the SPKR online shop

Tracklist:
1. Riverhead
2. Alleyways
3. Road To Town
4. In A Wooden Coat
5. Idle Hands Are The Devil's Playthings
6. Father's Feud
7. In Memoriam
8. Stoke The Fire
9. Bored Of Canada
10. Hard Standing
11. Stalking
12. A Waste Of Your Father's Life
13. Spiteful Things
14. The Hunt
15. Snake In The Grass

Ulver - Hexahedron 19.19 $

Tue, 28 Apr 2026 01:50:04 +0200

Ulver - Hexahedron from 19.19 $

Thu, 23 Apr 2026 01:30:06 +0200

Ulver - Flowers of Evil from 13.43 $

Sun, 12 Jul 2026 23:10:10 +0200

In the midst of the forest, the floor is littered with monstrous heads and mythical figures, frozen in torturous combat or threatened by wild beasts. A dragon fights a dog and a wolf. A lion sinks its teeth into the fire-breathing monster’s chest.

This sacred grove, near Bomarzo in Lazio, Italy, reveals the nightmare vision of Vicino Orsini, a sixteenth century nobleman. It’s a forest of symbols, suggesting a civilisation overrun by the beasts, demons and monsters of the primordial world. Soon after Orsini’s death, trees began to close in on these many peculiar beings, and green moss would eventually seize them. Slowly, nature finished what he had started.

Flowers of Evil, the new studio album from Ulver, finds the wolf pack exploring the fear and wonder of mankind’s fall from redemption. Visions similar to those of Orsini come to mind, as untamed life abounds:

THEY SPREAD
TWIST AND TURN
IN THE KILLING FIELDS

The threads of haunted places and images entwine. Have Ulver discovered new pastures under the sun? Or scoured the ruins of their own moonlit past? The truth is, they’re closer to their previous purlieu than perhaps ever before.

“Doom dance”, someone dubbed their last studio album, the critically acclaimed, Impala Award-winning The Assassination of Julius Caesar (2017). Flowers of Evil comes across as an unfeigned progression along the course set by that album, revealing a band moving deeper into beats and grooves, hooks and choruses, synths and guitars, yet sounding more stripped back, making room for the distinctive detail. Once again Michael Rendall (The Orb) and legendary producer Martin “Youth” Glover have taken crystalline care of the mix.

As Caesar demonstrated, Ulver haven’t abandoned any of their obsessions, worries or nightmares as they enter the gilded palace of pop. “One last dance / in this burning church”, Kristoffer Rygg announces on the album’s opening track, featuring old friend Christian Fennesz on guitar and electronics. It sees them locked inside their Hall of Mirrors. A slow build brings the music to the album’s pulsing theme:

WE ARE WOLVES
UNDER THE MOON
THIS IS OUR SONG
WE HAVE LOVED
AND WE HAVE LOST
WE ARE READY TO GO

With Flowers of Evil Ulver have fled a burning Rome, only to confront further crime and corruption. ‘Russian Doll’, the album’s first single, moves determinedly through the night, with a story of unfolding tragedy and misery. ‘Machine Guns and Peacock Feathers’ brings fiery end-time imagery – “barrels are burning / great art will be destroyed” – with a disco beat and flashy ’80s synths. Dismal cries resound on ‘Hour of the Wolf’; echoing Bergman’s classic film, the song is dedicated to the hour between night and dawn, “when most people die, when sleep is deepest, when nightmares are most real”. ‘Apocalypse 1993’ reveals Ulver at their catchiest, its bounding-goat groove running hand in hand with a grand chorus depicting the catastrophic events at Waco, Texas, during the winter of that year – the very same winter that saw the birth of Ulver’s first incarnation. From that thorny undergrowth, this is what they have become: an eclectic, many-headed beast, chanting the ecstasies of the spirit and the senses.

Flowers of Evil unfolds with the shattering second single, ‘Little Boy’. A mysterious beat moves the track towards its thunderous climax, and here Michael J. York’s ominous pipes melt into the softer, moodier ‘Nostalgia’, a ’70s soul shuffle, and the heart-breaking Talk Talk-esque balladry of ‘A Thousand Cuts’. Finally, the wolves are back in the palace of excess, waltzing the night away. Yet around them, the wilderness rises, triumphant; “grass will grow over your cities”, as the Bible says.

Tracklist:
1. One Last Dance
2. Russian Doll
3. Machine Guns and Peacock Feathers
4. Hour of the Wolf
5. Apocalypse 1993
6. Little Boy
7. Nostalgia
8. A Thousand Cuts

Ulver - Hexahedron - Live at Henie Onstad Kunstsenter from 13.43 $

Sat, 13 Jun 2026 19:40:08 +0200

Hexahedron documents the second of the two dazzling, sold-out Ulver shows in the legendary Studio at Henie Onstad Kunstsenter at Høvikodden back in April 2018. A special commission and “an honourable undertaking”, as Tore Ylwizaker put it in their career-spanning book Wolves Evolve – The Ulver Story, published last year. “To orientate our music into an art setting is appealing to me”, he said. “Doing whatever we want, not knowing what it’s supposed to become or where it will end up.”
During the shows at Henie Onstad the band found themselves trapped in a multidimensional “hypercube” in the middle of the asymmetric space. Inside it they experimented with all-new ideas in an installation as galactic as the music presented was unmistakably ulverish. Around them, the audience moved unhindered among hallucinatory lights and laser-guided melodies, losing themselves in interstellar clouds of gas, dust and broken junk of exploded stars. I suppose we were all sidereal messengers, cruising through the groovy galaxies.
Three years have passed, and finally it’s here. One continuous session of sixty minutes broken into five parts. Professionally multi-tracked in the gallery, a first go at the mix was done simultaneously with Drone Activity, early 2019. They left it for Flowers of Evil, for which the seeds had already been sown. You’ll notice. Then The Ulver Story was brought to a conclusion, with huge plans for their final dance. But as we all know, the pandemic put a spanner in the works.
Come 2021, and Anders Møller and Kristoffer Rygg decided to restart the Solid State Logic console in Subsonic Society. A total recall made the job less gruelling than expected, they report, and in a fortnight the mixes were in stellar shape, ready to be mastered by Vegard Sleipnes via the same society’s good old Studer tape machine and collection of high-end outboard gear.
The result is spectacular, spaced out, and “astral black… with hints of Supertramp and Sun Ra”, as the band jestingly told someone on a social medium. But most of all Hexahedron is expansive, transportive and luminous. A moment of flight captured for posterity. A dancing star.
Or as curator Lars Mørch Finborud states in the album’s liner notes: “a definite highlight in Henie Onstad Kunstsenter’s music and performance history.”

Tore Engelsen Espedal, April 2021