Ulver
Kveldssanger

(A small preface: I can't stand being in front of the computer, and I don't think I'm even good at reviewing, but I am madly in love with Ulver and I would like to dedicate reviews to each of their works and shout to the world the greatness of this band. For this, I apologize to those who have already reviewed this work and thank them anyway, whether they understand me or not. I take this opportunity to say that I will not rate any Ulver album because any numerical value would be reductive.)

"Kvelssanger", 1996 (Album)

Successor to "Bergtatt", a work in which Ulver seemed to have already prepared the path to follow, linked to black metal, "Kveldssanger" represents the first veer away from the aforementioned genre, as well as the band's more folkloric soul; the title and cover already hint at what awaits the listener and that not everything present in the previous album has been set aside (the background subject, a maiden in a nighttime forest followed by some spirits, recalls the sad story of "Bergtatt"), but the folk component, which hovered in the early works, has become the absolute protagonist.

The electric instruments are abandoned in favor of acoustic and traditional ones, Garm's singing, often turned into a choir, takes on the appearance of an "a cappella" style, typical of ancient Norwegian religions and beliefs, and the rhythmic section is led almost exclusively by Haavard's guitars (the drums, however extremely limited, are present only in the last track); moreover, these often impose themselves as the only instruments in some parts of the songs.

The departure from metal has allowed "Kveldssanger" to seem more "natural" and intimate, tied to scenes of ancient rural civilizations, vast forests, and traditional songs in front of a fire, all under the darkest and most melancholic night. The short duration of each song (except for "Ulvsblakk") plays in favor of immediacy, a key element of the neofolk plots, and indeed this is what every moment of the album revolves around: carving into the soul of every person in a sincere and direct way. The production, raw and somewhat neglected, gives the work the same genuineness of a demo and becomes an added value (as happened with "Bergtatt"), without affecting the variety of the mood of the tracks; in fact, these, though homogeneously connected (even just due to the limited use of instruments), diversify in what they convey.

We are thus enveloped by "Østenfor Sol Og Vestenfor Maane", melancholic and dreamy, where Garm's choirs intertwine in a singular, profound lament, choirs that become the sole protagonists in the short "Ord". With "Høyfjeldsbilde", the first song of only acoustic guitars, based on an exceptionally splendid melody, a long series of instrumentals begins; "Nattleite", choral and suffering, afflicts like the fears that haunt forests, while "Kveldssang" is a more intimate and reflective moment, introducing "Naturmystikk", with a calmer and more relaxed mood. "A Capella (Sielens Sang)" is the second (and last) episode dominated only by the choirs, as the title suggests, while "Hiertets Vee" is the most mysterious track on the album, with a very suggestive flute ending surrounded by wind. "Kledt I Nattens Farger" offers a more relaxed moment before "Halling"; the title is that of a traditional Norwegian dance, and this already presumes the serenity that emerges, albeit in a controlled manner. The following "Utreise" is the most epic piece, concluded by a crescendo of cello that stands out on the guitars, to which "Søfn-ør Paa Alfers Lund" acts as a counterpoint, bringing us back to the initial melancholy until the conclusion, "Ulvsblakk"; as previously mentioned, it is the longest song in the work, and also the one with the most complex plots, adorned with bursts of drums (hitherto completely absent), and with this, the darkness that was previously confronted (and at times tamed) returns to become thick and intricate, like the forest in which the listener has found themselves since the beginning of "Kveldssanger", before leaving us once and for all.

Final Evaluation: A timeless nocturnal neofolk jewel, of Nordic and traditional inspiration, in which the music truly becomes a part of us, either for what it conveys or for its immediacy. Perhaps the only Ulver work recommended to everyone.

(Second preface exclusively for this review: as a first review, I could only choose the album that I absolutely prefer, not only among those by Ulver, but so far also in the world of music.)