Ulver Post ATGCLVLSSCAP Snippets, Announce More Details

Posted in Whathaveyou on November 16th, 2015 by JJ Koczan

So, rather than try to pronounce ATGCLVLSSCAP, the acronym that serves as a title for Ulver‘s forthcoming collection of live-recorded explorations turned into a full-length album, maybe we can just decide to call it “twelve.” Fair enough.

The Norwegian experimental outfit has put out a flurry of consumable media from the new offering, including three sample videos linked below and two song snippets under the PR wire info, so ahead of the Jan. 22 release of ATGCLVLSSCAP (pronounced “twelve”), they’re giving their audience a substantial glimpse at what’s to come. Presumably this won’t be the last of it either.

Just as important as the videos and audio is the context of the release itself, about which more is learned below:

ulver atgclvlsscap 2

ULVER REVEAL NEW MUSIC, ARTWORK AND PROMO VIDEOS; ATGCLVLSSCAP UPCOMING 22ND JANUARY 2016

Following the recent announcement, House of Mythology proudly releases the new Ulver album in January, ATGCLVLSSCAP, and today we can reveal further details, including a snippet of the new song ‘Cromagnosis’ and ‘Moody Stix’, promo videos and the album artwork.

With over 80 minutes worth of material ATGCLVLSSCAP consists of multitracked and studio-enhanced live, mostly improvisational, rock and electronic soundscapes, 2/3 of which has never been heard before. You can get a taster of this by listening to excerpts of new tracks ‘Cromagnosis’ and ‘Moody Stix’, with links provided below.

There are also three new promo videos available to watch – ULVER “ATGCLVLSSCAP” PROMO #1 + ULVER “ATGCLVLSSCAP” PROMO #2 + ULVER “ATGCLVLSSCAP” PROMO #3 – meaning you can immerse yourself into the world of Ulver even further.

The basis for ATGCLVLSSCAP – which the band has been working with under the moniker ‘12’ – arrives from recordings made at twelve different live shows that Ulver performed in February 2014, in which band the band vaulted into the deep end of an improvisatory approach to their performance. As Kristoffer Rygg, the prime mover of the band since its inception, puts it wryly, “The tour was to be an experiment, kind of loose and scary for a band as ‘set in their ways’ as us.”

Once the tour was over, it was down to his bandmate Daniel O’Sullivan to take charge of these multitrack recordings, sculpting and editing hours of material in his North London enclave, formerly owned by charismatic artist and Coil associate, the sadly departed Ian Johnstone – as O’Sullivan noted, “The hungry ghosts of the now empty house appear to be burrowing into this record.” Anders Møller, Kristoffer Rygg and Tore Ylwizaker got involved a bit later, honing things from their end in Subsonic Society and Oak Hill Studios, Oslo, before the vinyl cutting process took place at THD Vinyl Mastering, also in Oslo, in which the band was fully involved in the crucial initial cut of the 14” lacquer. What resulted is the widescreen sweep and atmospheric splendour of ATGCLVLSSCAP, ultimately a piece of work that exists above and beyond any conventional live recording, rather a hallucinatory travelogue as potent an experience to bear witness to as it was to construct.

By shaking up their creative process, the band have summoned up a unique testimony to the creative power of a mighty force who remain blissfully free of genre or convention, ATGCLVLSSCAP is progressive in the truest sense of the word, a record that may be this capricious band’s pièce-de-resistance.

Ulver’s new album ATGCLVLSSCAP is due for release on January 22nd 2016. Pre orders now live.

http://store.houseofmythology.com/
http://www.jester-records.com/ulver/ulver.html
https://www.facebook.com/Ulver-31166220421/
https://twitter.com/ulverofficial
https://ulver.bandcamp.com/

Ulver, “Cromagnosis” sample

Ulver, “Moody Stix” sample

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Ulver Announce ATGCLVLSSCAP for Jan. 22 Release

Posted in Whathaveyou on October 29th, 2015 by JJ Koczan

Taking its acronym title ATGCLVLSSCAP from the initials of the 12 zodiac signs, the new full-length from Norwegian experimentalists Ulver will be released Jan. 22, 2016, via the new imprint House of Mythology. It’s a 2LP comprised largely of live explorations built on in the studio — what a lot of bands would probably call “jams” — and continues Ulver‘s long-since-established thread of doing whatever the hell they want, or at very least whatever the hell Kristoffer Rygg wants, while remaining utterly brilliant. I’ve heard none of it to-date, but remembering how righteous they were at Roadburn 2012 supporting the then-new covers/interpretations offering, Childhood’s End, and, you know, the rest of their work, brilliance is honestly the safer bet.

Stay tuned for more in-depth critical insight like the above. What’s that? PR wire? Yeah, sure. Here’s the PR wire with much verbiage:

ulver ATGCLVLSSCAP

ULVER? REVEAL DETAILS OF A BRAND NEW ALBUM ATGCLVLSSCAP ON NEW LABEL HOUSE OF MYTHOLOGY JANUARY 22ND 2016

House of Mythology proudly presents the new Ulver gatefold double album vinyl (also available on CD), with over 80 minutes worth of material. This album consists of multitracked and studio-enhanced live, mostly improvisational, rock and electronic soundscapes, 2/3 of which has never been heard before.

In Newton’s basic laws of motion – those which lie at the heart of modern physics – the paradox stands that constant velocity is essentially as natural as being at rest. True to form, in the now twenty-two-year-old life of Ulver, only one constant has remained, that being a forward-driving spirit that has moved this mercurial Norwegian-based collective forever through challenges and adventure anew, irrespective of reductive genre pigeonholing. Moreover, their latest voyage into the unknown is no different, marking another new chapter for an outfit characterised by wild and inspiring unpredictability, along with a fresh triumph for one of modern music’s most iconoclastic forces.

The basis for ATGCLVLSSCAP – which the band has been working with under the moniker ‘12’ – arrives from recordings made at twelve different live shows that Ulver performed in February 2014, in which band the band vaulted into the deep end of an improvisatory approach to their performance. As Kristoffer Rygg, the prime mover of the band since its inception puts it wryly, “The tour was to be an experiment, kind of loose and scary for a band as ‘set in their ways’ as us.”

Although the line-up for these shows remained similar to that on 2012’s psychedelic covers album Childhood’s End, and the band had taken succour from the sounds and headspace they explored on that record, this was another break into new territory, using their live energy and spontaneity as the fuel for aural explorations that would surprise even the band themselves. “At the end of any album process, I can’t wait to do something else,” comments Rygg. ”So yeah, it is partly borne out of that feeling, being a bit bored with the circumstances. It was quite liberating to do something more in the moment. One night a jam could be five minutes, and the next it could be fifteen. We couldn’t have captured these songs in a studio environment.”

Once the tour was over, it was down to his bandmate Daniel O’Sullivan to take charge of these multitrack recordings, sculpting and editing hours of material in his North London enclave, formerly owned by charismatic artist and Coil associate, the sadly departed Ian Johnstone – as O’Sullivan noted, “The hungry ghosts of the now empty house appear to be burrowing into this record.” Anders Møller, Kristoffer Rygg and Tore Ylwizaker got involved a bit later, honing things from their end in Subsonic Society and Oak Hill Studios, Oslo, before the vinyl cutting process took place at THD Vinyl Mastering, also in Oslo, in which the band was fully involved in the crucial initial cut of the 14” lacquer. What resulted is the widescreen sweep and atmospheric splendour of ATGCLVLSSCAP, ultimately a piece of work that exists above and beyond any conventional live recording, rather a hallucinatory travelogue as potent an experience to bear witness to as it was to construct.

As always in the world of Ulver, influences are disparate and diverse, yet as Rygg notes, “It’s quite tributary in a way, there are clear nods to sounds from the past.” Many of these dwell in progressive, electronic and krautrock realms, heralding a lifelong love within the band for the music of the 70s – the fiery mantras of ‘Om Hanumate Namah’ and the motorik drive of ‘Cromagnosis’ draw an astral trajectory between the propulsion of Kraftwerk/Neu! and the ritualistic intensity of prime Amon Düül II, whilst the spirits of both Klaus Schulze and John Carpenter are audible in the electronic soundscapes of ‘Desert/Dawn’, not to mention the Bernard Herrmann touch in the closing ‘Solaris’. Even when the band revisits an earlier gem from 2000’s Perdition City album, as on ‘Nowhere (Sweet Sixteen)’, its reinvigorated by their expansive and emotionally charged approach.

“We always feel like, independently of what kind of instrumentation we use, we’re still playing the same nocturnal stuff,” laughs Rygg. “There are a few motifs that keep recurring all the time in what we do, and if it’s in a rock form or an electronic form, it’s always there.” Yet as true as this may be, by shaking up their creative process, the band have summoned up a unique testimony to the creative power of a mighty force who remain blissfully free of genre or convention, ATGCLVLSSCAP is progressive in the truest sense of the word, a record that may be this capricious band’s pièce-de-resistance. (words by Jimmy Martin)

As a sidenote:

*The album title is an acronym for the twelve signs of the Zodiac, from Aries to Pisces

http://www.jester-records.com/ulver/ulver.html
https://www.facebook.com/Ulver-31166220421
https://twitter.com/ulverofficial
https://ulver.bandcamp.com
http://www.houseofmythology.com/

Ulver, Childhood’s End (2012)

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