Ulver Shifts Gears: From Black Metal to Psychedelic Covers

Norwegian band Ulver has dramatically shifted its musical focus from black metal to psychedelic covers with their latest album, Childhood’s End. Released on September 29, 2023, the album is a collection of tracks from the late 1960s, exploring the era’s cultural loss of innocence. Lead vocalist and founder Kristoffer Rygg, also known as Garm, is at the helm of this transformation.

Over their career, Ulver has transitioned through various genres, starting as a black metal band before evolving into a progressive art-rock group known for their ambient music and electronic experimentation. Their 1998 album, Themes From William Blake’s The Marriage Of Heaven And Hell, showcased this eclectic approach, combining multiple musical styles. As Rygg noted, “You’re quite right in describing us as restless. We’re generally interested in all kinds of music.”

Exploring Psychedelic Roots

In discussing the new album, Rygg expressed a long-standing fascination with psychedelic music. “In my 20s, I found myself coming up short with new things to like. It wasn’t until the late ’90s when I discovered a true fascination with psychedelic music, and even prog,” he explained. This passion is evident in the choice of covers, which include tracks by The Electric Prunes, The Byrds, and Jefferson Airplane.

Childhood’s End is subtitled Lost & Found From The Age Of Aquarius, reflecting the period’s cultural movement that began with optimism but turned dark with events like Altamont and the Watergate scandal. Rygg emphasized that the album title is quite literal, highlighting the disillusionment that followed the psychedelic highs of the 60s.

He described the process of selecting songs as both a challenge and an adventure. “I had to do some real digging around for the songs on the album. You almost learn to rely on tip-offs,” he said. The resulting collection features lesser-known gems alongside more familiar tracks, creating a diverse sonic landscape.

Creative Process and Future Plans

The album’s standout tracks include a reimagined version of The Music Machine’s “The Trap,” dedicated to the band’s late singer Sean Bonniwell, who passed away in 2011. Rygg recalled their conversations before Bonniwell’s death, noting his enthusiasm for hearing Ulver’s interpretation.

Despite the album’s success, Ulver is not planning extensive touring. Aside from a performance at Holland’s Roadburn Festival, the band intends to focus on recording rather than live shows. Rygg reflected on the challenges of balancing performance with studio work. “There’s a lot of relief to get back into studio mode. It takes a lot of focus away from making new music,” he said.

This latest project represents a significant departure from their roots in Norway’s black metal scene of the early 1990s. Rygg acknowledged the evolution of the genre since then, stating, “Being a band was a way of being part of the culture or outlook on life that was black metal. It was very different from what I see now.”

As Ulver continues to explore new musical avenues, Rygg’s search for “the magic” in music persists. “The magic has gone for me, so now I’m trying to find it in other places,” he concluded, leaving listeners eager for what this innovative band will create next.