ULVER Wars Of The Roses LP IMPORT dark jazzy prog/pop arcturus manes Hexvessel
  $   25

 


$ 25 Sold For
May 7, 2017 Sold Date
Sep 3, 2014 Start Date
1 Number Of Bids
  USA Country Of Seller
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Description


ULVER Wars Of The Roses LP

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(Kscope)
*** This is a new and unplayed item, direct from the CRUCIAL BLAST shop. ***


DESCRIPTION FROM CRUCIAL BLAST:
  Newly available as a deluxe gatefold vinyl edition, and back in stock on deluxe digibook CD.
   Wars Of The Roses is Ulver's eighth album, originally released back in 2011, an excursion into nocturnal art-rock and gloomy, glitchy electronica with tracks mixed by This Mortal Coil's John Fryer (Depeche Mode, Fields of the Nephilim). The follow-up to their amazing Shadows Of The Sun, this album sees the venerated Norwegian band again embracing a variety of guest players in the creation of this material; Roses features noted British free improvisers Alex Ward on clarinet and Steve Noble on drums, Norwegian free-jazz guitarist Stian Westerhus on bowed electric guitar, and Hexvessel violinist Daniel Quill on a number of tracks. Almost all of the songs on Roses follow the sort of dark, jazz-flecked prog-pop that Ulver had previously explored within the umbral regions of Shadows of the Sun, but the inclusion of those aforementioned guest musicians and an increased presence of soulful reeds, this stands out as possibly Ulver's "jazziest" album.
   The propulsive gothic prog-pop of "February MMX" opens the album, the rhythm section rocking out more than usual as cascades of gorgeous piano and synthesizer wash down across the minimal guitars, forming into a brooding infectious hook with Garm's soaring croon sounding as soulful as ever; in contrast, "Norwegian Gothic" opens up into something much abstract, starting off as one of the band's moodier, slower pieces of proggy chamber pop, but then breaking apart into rolling waves of minimal dark ambience and threads of soft digital distortion that finally give way to the song's strangely jazz-streaked finale. Forming from the sounds of haunting elliptical piano notes, "Providence" is a longer, more expansive song that features the pairing of guest vocalists Attila Csihar (of Aborym, Burial Chamber Trio, Gravetemple, Keep Of Kalessin, Mayhem, Pentemple, Plasma Pool, Tormentor, YcosaHateRon, etc.), and soul singer Siri Stranger (who had previously collaborated with Ulver on their cover of Prince's "Thieves In The Temple" featured on the Shockadelica compilation); autumnal pop emerges out of sorrowful classical strings and distant flutes, and begins to undulate within the cold black glow of Norwegian cities at night, jazzy guitar solos screaming out of the gloom, dissolving the band's sound into more ghostly ambience flecked with distant batrachian utterances and wailing tones. The heavenly "September IV" transforms into one of the album's most rocking moments, slipping from that twilight gloompop into a wickedly groovy prog workout that heads out into some almost Goblinesque territory, organs and spacey synths swirling around the driving, funky rhythm. "England" and "Island" are even more gorgeous, the latter laced with some subtle trip-hop elements, glazed with the honeyed sound of acoustic guitars and lap steel, while the closer "Stone Angels" is unlike anything else on the album, a reading of a piece written by underground poet Keith Waldrop over a backdrop of drifting incandescent synthesizers and gorgeous gleaming organ notes, the piercing agonized shrieks wafting out of the clarinet of guest musician Stephen Thrower (Coil, Cyclobe, author of Beyond Terror: The Films of Lucio Fulci and Nightmare USA) writhing through the mist like mutant bagpipe melodies, the track slowly unfolding into a stunning sprawl of kosmische ether, free-jazz percussion skittering in the distance around the improvised honking, transforming the album's final moments into some sort of dreamy, orchestral out-jazz ambience.   © CRUCIAL BLAST
THIS IS A NEW, UNPLAYED ITEM. Please note that for LP vinyl orders, we usually remove the vinyl from the jacket prior to shipment in order to avoid seam splits or any other kind sleeve/jacket damage that might occur during transit. This may require that we open the shrinkwrap on the record in order to carefully remove the vinyl from the inside of the jacket (if the record was originally shrinkwrapped). Feel free to contact us with any questions regarding this policy.

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