Kveldssanger
| Kveldssanger | ||||
|---|---|---|---|---|
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| Studio album by Ulver | ||||
| Released | March 1996 | |||
| Recorded | 1995 | |||
| Genre | Folk, neofolk, folk noir | |||
| Length | 35:29 | |||
| Label | Head Not Found | |||
| Producer | Haavard, Kristoffer Rygg, Kristian Romsøe | |||
| Ulver chronology | ||||
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| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic |   |
| Pitchfork Media | 7.0/10 |
Kveldssanger (translated as "Twilight Songs") is the second studio album by Norwegian band Ulver, issued in March, 1996 via Head Not Found. The album was recorded at Endless Lydstudio, Christiania, Kingdom of Norway in the summer and autumn of 1995, with Kristian Romsøe as engineer and co-producer.
Sophomore album, Kveldssanger, the second part of what has become known as Ulver’s “Black Metal Trilogie,” sees the band expand on the quiet, folk-like acoustic elements present in debut album, Bergtatt, for their second album Kveldssanger. Incorporating classical guitars, cello and choral chamber chants overlaid with subtle orchestral landscapes - eschewing the black metal elements - the album was a drastic contrast to Bergtatt, whilst still retaining the atmospheric and folk themes. Vocalist Rygg has since remarked that Kveldssanger was an "immature attempt at making a classical album", later adding that the performance was immature, yet the content is strong when their youth at the time is taken into account. The album was praised for its atmosphere, evoking a feeling of quiet, eerie solitude.
Reflecting on Kveldssanger with Rob Hughes for Unrestrained Magazine in 2007, Rygg commented, "I was just the singer, but I partook in the composition as well. I made some of the riffs, but I can't play the guitar very well. A lot of those songs were developed in the studio with basically a riff and a click track and layering the guitars. When a second theme came on top of the first theme we could kind of drop the first theme and develop on the second theme, and that's how we pieced the whole thing together. So it was, in a way, experimental. It was following its own natural logic, so to speak. We really didn't have a lot composed before we went into the studio, so already then we were using the studio as an instrument — as we still do — even though we had a more limited palette. And of course we had a different set of influences, or a narrower set of influences."
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Wikipedia