Kveldssanger
| Kveldssanger | ||||
|---|---|---|---|---|
| Studio album by Ulver | ||||
|
Publication |
1995 |
|||
|
admission |
1995 |
|||
| Label (s) | Head Not Found | |||
|
Format (s) |
CD |
|||
|
Title (number) |
13 |
|||
|
running time |
35:29 |
|||
|
Studio (s) |
Endless Lydstudio, Oslo |
|||
|
||||
Kveldssanger is the second album by the Norwegian band Ulver and the second part of their trilogy on the "sinister aspects of Norwegian folklore ".
Emergence
For the album worked Garm , Haavard and AiwarikiaR with the cellist together Alf Gaaskjønli, who even in her contribution Synen to the sampler souvenirs from Hell supported. AiwarikiaR, on the other hand, was not present for most of the recordings due to his military service. The album was recorded in 1995 at Endless Lydstudio in Oslo (indicated on the back of the album with the former name Christiania) with Kristian Romsøe as sound engineer and co-producer, it was mastered by Craig Morris at Strype Audio.
Garm described Kveldssanger in retrospect as "immature", but later stated that the comment was related to the execution and was exaggerated.
Kveldssanger was later part of The Trilogy - Three Journeyes Through the Norwegian Netherworlde (1997) and Trolsk Sortmetall 1993-1997 (2014), two box sets launched by Century Media.
Track list
The music was composed by Haavard and Garm.
- Østenfor Sol og vestenfor Maane - 3:26
- Ord - 0:17
- Høyfjeldsbilde - 2:15
- Nattleite - 2:12
- Kveldssang - 1:32
- Naturmystikk - 2:56
- A cappella (Sielens Sang) - 1:26
- Hiertets Vee - 3:55
- Kledt i Nattens Farger - 2:51
- Halling - 2:08
- Utreise - 2:57
- Søfn-ør paa Alfers Lund - 2:38
- Ulvsblakk - 6:56
Music, lyrics and booklet
In contrast to the debut album Bergtatt - Et Eeventyr i 5 Capitler , on which Ulver mixed black metal and folk influences, the band used only acoustic instruments on Kveldssanger . She processed "classically tinged Nordic folk songs" in a style which, according to William York of Allmusic, was hinted at in the acoustic interludes of the previous album and here "fully developed" in "real songs with thoughtful, albeit sparse, arrangements". In some of the songs Garm's vocals were overdubbed to create a choir-like effect. The album also contains some a cappella recordings, but the greater part of the album is instrumental with an emphasis on quiet acoustic guitars and some cello and flute parts. Martin Kreischer described Ulvers acoustic recordings in Ikonen Magazin as an enrichment of the Neofolk "with more filigree structures" than in the early apocalyptic folk bands.
Old Danish is given as the language in which the lyrics of this album and the entire trilogy were written. In fact, however, it is more an archaized, poetic Norwegian, whereby the impression of an old language is also to be reinforced by the (sometimes freely imagined) orthography. Words like kveld and farge are clearly Norwegian vocabulary, and the title of the first song is taken from one of the most famous Norwegian folk tales, Østenfor Sol Og Vestenfor Måne .
The painting on the cover is by Maria Jaquete. On the back of the album you can see a “dead silent lake and a misty forest”. The photograph is from Torgrim Novreit.
reception
Kreischer described Empyrium and Ulver in Ikonen Magazin as "the first [...] who enriched the NeoFolk with more filigree structures than the early apocalyptic folk bands". When he asked the band Graumahd whether they saw “a change, a separation of the 'new' bands from the 'old'” ”, Wolf replied:“ The new thing was probably that they only concentrated on the filigree guitars . Ulver or Empyrium never did that, so you can't assign them as bands to any genre. ”Jörg added:“ I wouldn't put it that way, because Ulver like Empyrium come from a different 'scene'. There were always points of contact (such as Ulver's ingenious contribution to the legendary 'Souvenirs from Hell' sampler by Cthulhu or Empyrium on the 'Lichttaufe' sampler) and certain albums are certainly great sources of inspiration for many musicians from the genre, I trust them to split off but not because of the 'unfamiliarity' alone. I think the 'invention' of German-speaking neo-folk was a major turning point. "
According to York, the music associated with the design of the album evokes "a feeling of calm, eerie loneliness". When listening to Kveldssanger it is difficult to imagine that the album came from a band that was young at the time, especially one whose next album, Nattens Madrigal - Aatte Hymne Til Ulven i Manden, was "wild black metal". This CD is a bold and successful work that has helped to confirm Ulver's reputation as one of the leading black metal bands, although ironically the album does not contain any metal.
Jøhnny from Ultimate-Guitar.Com also said it was hard to imagine that Garm was only 19 years old when the vocal recordings were made. He described Kveldssanger as an "unbelievable album" and Ulvers best release, which he recommends to all fans of acoustic folk or acoustic music in general. Roberto Martinelli from Maelstrom - Webzine wrote in his review of the album that there is no other black metal band that expresses forest worship as beautifully as Ulver in their black metal phase, to which the album belongs. Kveldssanger is a purely acoustic album, but "as much a Black Metal album as it is possible"; Except for possibly Empyrium on later albums, no band has managed to come close to creating a metal album without metal elements, but evoking feelings like a black metal album.
Individual evidence
- ↑ a b HISTORY. Retrieved October 6, 2010 : "The beastliness begins with Bergtatt (1994), is balanced with the all acoustic, neo-folk album Kveldssanger (1995), before returning with even more impact on Nattens Madrigal (1996), where the pure anger and anguish is a consequence of the quintessential lycanthropic lyrics. "
- ↑ a b c Martin Kreischer: From the dark forest ... Interview with the formation Graumahd by Martin Kreischer. Icons, accessed October 6, 2010 .
- ↑ a b Jøhnny: Kveldssanger Review , March 8, 2012, accessed October 20, 2012.
- ^ Mark Pilkington: Animals are What We are . In: Trolsk Sortmetall 1993–1997 . S. 86-93 .
- ↑ a b ULVER: The MetalKult Interview ( Memento from August 2, 2008 in the Internet Archive ).
- ^ A b c William York: Kveldssanger - Ulver. Allmusic, accessed on September 19, 2012 (English).
- ↑ Jan Leichsenring: "We demand the impossible." On the formulation and function of anti-modern topoi in metal subgenres. In: Rolf Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Münster 2011, p. 295 .
- ↑ Roberto Martinelli: ULVER - Kveldssanger ( Memento of the original from September 12, 2007 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . In: Maelstrom , No. 55, accessed on October 21, 2012.
