Perdition City - Music to an Interior Film
| Perdition City - Music to an Interior Film | ||||
|---|---|---|---|---|
| Studio album by Ulver | ||||
|
Publication |
2001 |
|||
| Label (s) | Jester Records | |||
|
Title (number) |
9 |
|||
|
running time |
53:40 |
|||
| occupation | ||||
|
||||
Perdition City - Music to an Interior Film is the fifth studio album by the Norwegian band Ulver . It was released by Jester Records in 2001 and was distributed by Voices of Wonder .
Creation and publication
Perdition City was announced on the back cover of the 1999 EP Metamorphosis . Ulver, since then only consisting of Rygg and Ylwizaker , recorded the album with financial support from the Norwegian Ministry of Culture. The musicians involved were Håvard Jørgensen (guitar), Øystein Moe (bass), Rolf Erik Nyström (saxophone), Bård G. Eithun , Ivar H. Johansen and Kåre J. Pedersen (both drums). Ylwizaker mixed the album at Beep Jam Studio, Audun Strype mastered it.
The publication was initially announced for the end of 2000, but finally dragged on until the beginning of 2001. A music video was produced for the Metamorphosis piece Limbo Central ; it was included on the regular and the limited (with extended booklet) CD edition of Perdition City . The album was also released on cassette and LP, most recently in February 2016 together with Metamorphosis as a double LP.
Track list
- Lost in Moments - 7:16
-
Porn Piece or the Scars of Cold Kisses - 7:09
- Piece One
- Piece Two
- Hallways of Always - 6:35
- Tomorrow Never Knows - 7:59
- The Future Sound of Music - 6:39
- We Are the Dead - 3:40
- Dead City Centers - 7:10
- Catalept - 2:05
- Nowhere / Catastrophe - 4:48
For Catalept one was Streicher - Sample of Bernard Herrmann's Psycho soundtrack used.
style
Ulver are continuing the path they started with Themes from William Blake's The Marriage of Heaven and Hell and Metamorphosis , away from metal and towards electronic music . Slow trip-hop beats, piano, saxophone, samples and clicks & cuts dominate on Perdition City ; it will find echoes of lounge - jazz . Most of the pieces get by without singing and are mostly atmospheric.
reception
The press reaction was divided. Robert Pöpperl-Berenda from Rock Hard considers the album to be a "boring ear mud", David M. Pecoraro from Pitchfork Media an "unwise experiment". On the one hand, Jochen Rindfrey attests to Perdition City on the baby blue pages “a very unique and peculiar charm” and, on the other hand, complains that “the Norwegians get bogged down here and there with unmotivated sound sequences and elongated, indefinable fabric”. However, William York from Allmusic praises the album "evokes just the sort of desolate, rainy-night-in-the-city atmosphere it sets out to create", on metal.de it is described as "innovative and ambitious". For Arlette Huguenin from vampster it is an album that she “can recommend with a clear conscience to all those who have got over the fact that the name 'Ulver' no longer only stands for Black Metal , but also for innovative, dark trip hop, the is not under pressure to get into the hit parade with clear song outlines ”.
Web links
- Perdition City on Allmusic (English)
- Reviews of Perdition City on the baby blue pages
swell
- ^ News 2001 , accessed February 23, 2015.
- ↑ a b Arlette Huguenin: ULVER: Perdition City - Music To An Interior Film , vampster , accessed on October 22, 2012.
- ↑ a b Baby Blue Prog Reviews: Ulver: Perdition City , Baby Blue Pages , accessed on October 21, 2012.
- ↑ a b William York: Perdition City at Allmusic (English), accessed on October 21, 2012.
- ↑ Robert Pöpperl-Berenda: Ulver. Perdiction City [sic!]. In: Rock Hard No. 167, accessed October 21, 2010.
- ↑ David M. Pecoraro: Ulver: Perdition City , Pitchfork Media , accessed October 21, 2012.
- ^ Ulver - Perdition city , metal.de , accessed on October 21, 2012.