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.
– Ando Woltmann

Great sorrow from the Norwegian legends ULVER. Music driven to despair, all sad and solitary, written and produced under the threat of extinction. SHADOWS OF THE SUN, is ULVER's 7th full-length album, the band's most personal record to date. Low-key, dark, and tragic.

The strange, stray birds of the black metal branch fly off into another metamorphosis. ‘Blood Inside’ sees Ulver’s evolution moving on a grand scale. Gaining much experience throughout the five years between their last proper studio album, ‘Perdition City’, and this emergency-room excursion, ‘Blood Inside’ offers more vocals, more variety and infinite interpretations. 9 surgically precise shapeshifts, performed with a wide array of instruments and unorthodox operational techniques. Black sheep? Never. Wolves prey upon sheep.
Written, performed and produced by Ulver, with a little help from legendary producer/mixer/artist Ronan Chris Murphy (King Crimson’s preferred audio pilot). Includes a video clip. All hail the new pope!
If you’re new, come see why this band has been nominated for a Grammy in Norway twice. If you’re a follower, expect a brand new Ulver...again..

Having finished two movie soundtracks, with Lyckantropen Themes and receiving a Norwegian Grammy nomination, Ulver's A Quick Fix Of Melancholy is from the spaces inbetween. Included is a instrumental track as well as a bonus remix of 'Nattleite' from the 1995 Kveldssanger album. Tracks include 'Little Blue Bird', 'Doom Sticks', 'Vowels' & 'Eittlane'. Packaged in a gatefold paper sleeve. Jester. 2003.

Having finished two movie soundtracks, with Lyckantropen Themes and receiving a Norwegian Grammy nomination, Ulver's A Quick Fix Of Melancholy is from the spaces inbetween. Included is a instrumental track as well as a bonus remix of 'Nattleite' from the 1995 Kveldssanger album. Tracks include 'Little Blue Bird', 'Doom Sticks', 'Vowels' & 'Eittlane'. Packaged in a gatefold paper sleeve. Jester. 2003.

Having finished two movie soundtracks, with Lyckantropen Themes and receiving a Norwegian Grammy nomination, Ulver's A Quick Fix Of Melancholy is from the spaces inbetween. Included is a instrumental track as well as a bonus remix of 'Nattleite' from the 1995 Kveldssanger album. Tracks include 'Little Blue Bird', 'Doom Sticks', 'Vowels' & 'Eittlane'. Packaged in a gatefold paper sleeve. Jester. 2003.

2003 release composed by the Scandinavian black metal act for the original motion picture soundtrack of the film Svidd Neger. 16 tracks. Jester. 2003.

ULVER是挪威诸多黑金属乐队中最具才华的一支，他们试图将挪威文化中黑暗的一面映射到自己的音乐中，从而创造出独一无二的黑金属音乐，而且他们已经发行的几张专辑在风格上也完全不同。在这个意义上来说，ULVER是挪威最激进的黑金属乐队。
ULVER这个名字来自挪威民间传说中黑暗邪恶的一面，“ulver”在挪威语中就是“狼”的意思。乐队最初成立时的目的就是要从音乐和歌词上描述挪威迷信传统中的“黑暗力量”，以及环绕挪威土地的那种神秘、黑暗、忧愁的氛围——他们要用音乐将人们带回那古老的国度，在那里，迷信依然深植于人们的脑海，幽深的森林里栖息着夜妖、精灵和巨人......
乐队的核心人物无疑是主唱Garm和吉他手Haavard，尤其是Garm，除了ULVER外，他还曾在为BORKNAGAR、ARCTURUS等乐队中担任主唱，他总能自如的变换各种嗓音，歌剧、民谣、清嗓、黑嗓、死嗓，不管他运用何种嗓音，他总能给你带来某种来自大自然的神秘感，而这神秘感正是ULVER音乐的核心。
ULVER最初的三张专辑是相互连贯的三部曲，分别从不同角度讲述了挪威传说黑暗面。
三部曲的第一部是1994年底通过Head Not Found公司发行的Bergtatt（Et Eventyr I 5 Kapitler），“Bergtatt”在挪威语中的意思是“被带入大山中”，这是一个古老的挪威迷信：年轻的处女会被地下世界的人绑架到他们在大山里的洞穴。专辑共有5首歌曲，风格接近SATYRICON的那种中世纪黑金属，在平和的长笛演奏后紧接着狂风暴雨般的黑金属段落，其间还夹杂着Garm的清嗓合唱，类似这样时而平和，时而愤怒，时而神秘的音乐贯穿始终。
第二部是1996年初发行的Kveldssanger（黎明之歌），这张专辑更加出人意料，因为整张专辑完全是由原声乐器和清嗓构成，古典吉他、风笛、长笛是唯一用到的乐器，专辑带有强烈的悲伤气氛，深沉、诗意的神秘气息透过ULVER的音乐，令你可以触摸那大自然的呼吸。这张专辑已经完全不是黑“金属”了，但是它所蕴涵的强大力量却不亚于任何真正意义上的黑金属专辑。
乐队1997年的专辑Nattens Madrigal（The Madrigal Of Night，小夜曲）是三部曲的终结，乐队又给人一个惊喜，他们再次回到了传统的黑金属风格，而且更加极端。他们把设备搬到挪威的森林中，用简单的四轨录音机在户外录制了这张专辑，为的是增加更多自然界的声响，并追求那种黑金属与生俱来的粗糙音效。专辑的风格酷似DARKTHRONE，只是声音更加尖锐刺耳，制作更加粗糙！这张概念专辑讲述了挪威神话中的人狼传说，9首曲目都是关于狼、夜晚和月亮的古代挪威传说之颂歌。这张虽然粗暴，但却充满忧伤情调和悲剧氛围的专辑无疑是黑金属历史上最好的专辑之一。

这是Ulver的第一张Demo。"Vargnatt"的意思是"Wolfnight".
Ulver成立于1992年。当时主音Garm只有15岁。
录制该Demo时的乐队阵容：
Kris R. : Vocals, arrangements
Grellmund : Rhythm guitars
A. Reza : Lead guitars
C. Michael : Drums, percussion
H. Jørgensen : Acoustic guitars
Robin : Bass
Ulver's Biography
ULVER是挪威诸多黑金属乐队中最具才华的一支，他们试图将挪威文化中黑暗的一面映射到自己的音乐中，从而创造出独一无二的黑金属音乐，而且他们已经发行的几张专辑在风格上也完全不同。在这个意义上来说，ULVER是挪威最激进的黑金属乐队。
ULVER这个名字来自挪威民间传说中黑暗邪恶的一面，“ulver”在挪威语中就是“狼”的意思。乐队最初成立时的目的就是要从音乐和歌词上描述挪威迷信传统中的“黑暗力量”，以及环绕挪威土地的那种神秘、黑暗、忧愁的氛围——他们要用音乐将人们带回那古老的国度，在那里，迷信依然深植于人们的脑海，幽深的森林里栖息着夜妖、精灵和巨人......
乐队的核心人物无疑是主唱Garm和吉他手Haavard，尤其是Garm，除了ULVER外，他还曾在为BORKNAGAR、ARCTURUS等乐队中担任主唱，他总能自如的变换各种嗓音，歌剧、民谣、清嗓、黑嗓、死嗓，不管他运用何种嗓音，他总能给你带来某种来自大自然的神秘感，而这神秘感正是ULVER音乐的核心。