As a fan of 80s synth-pop, jazz, and ambient music, my interest in this band grew over time, and while they have maintained a steady pace in shaping their sound from a traditional ambient style. My ears were anchored to the latest studio works, “The Assassination of Julius Caesar”, “Flowers of Evil”, and “Liminal Animals”.  Their extensive discography also offers a taste of their sound on live albums like “The Norwegian National Opera”, “Hexahedron (Live at Henie Onstad Kunstsenter)”, and “Grieghallen 20180528”, which are essentials.

Now with the fourteenth opus “Neverland”, released via House of Mythology on December 31st, 2025. The band takes a fresh turn towards the psychedelic, lush ambient soundscapes and atmospheric music that is rich and subtle in its melodic and rhythmic pieces.

Everything on this album is meticulously crafted as the electronic crescendo provides a cathedral of influences. The spoken words slowly immerse you in the detailed musical structures of the opening song “Fear in a Handful of Dust”. The piano melody that consistently wraps your ears, you find yourself submerging and surrounded by impressive sonic beats in the following song, “Elephant Trunk”.

The album art has a vibrant Hawaiian vibe. For the next few minutes, Ulver settles its music into a relaxing mood before the Wolves evoke something familiar to their fans. The lush melodic opening of “Weeping Stone” is quite imaginative and proves their flair for blending ambient music with film scores and modern age music.

The detailed arrangements demand your focus while proving utter brilliance in merging various sound structures with beautiful synth compositions, creating multiple layers and a vast spacey environment, all of which are enhanced on each track.

The music remains timeless, especially on “People of the Hills”. There are ambient bursts of electronica, shimmering textures, guitars, and the beating drums that overlap the trippy soundscapes unfolding into exquisite atmospheres. The diversity of music is notable in every song, and then the music morphs and slithers into something exotic, bringing the composition to the forefront.

Over the course of three decades, Ulver has transcended its music, combining ethereal electronica, trip-hop, ambient, chamber music, and synth-pop; its musical interpretation has resulted in a lengthy discography that is sure to please the ears. Whether the bizarre atmospheres of space echoing from the speakers in a loop or the lush synth playing in the background, “Neverland” radiates eerie tranquility.

In this oeuvre, Ulver explores new and familiar grounds. “They’re Coming! The Birds!” embraces groove and profound melodies and up-tempo beat sections, and then the music slowly guides through the next song “Hark! Hark! The Dogs Do Bark” which feels like they are stepping into industrial domains with the guitars and bass being added to the mix.

“Horses of the Plough” weaves exotic landscapes with darker musical textures while focusing on the synthesizer to create an enchanting mood. There are also elements of 80s synth that chill the spine, and midway through “Pandora’s Box” a full mechanical drum work takes the lead, yet the music remains at the same immersive level, echoing powerfully in the vast ambiance.

A Myriad of influences spanning from Tangerine Dream and atmospheric ethereal, soaked into a canvas of soundscapes, where the operatic female vocals in the song “Quivers in the Marrow” somehow remind me of the album “Messe I.X–VI.X”. “Welcome to the Jungle” and “Fire in the End” are both spellbinding. The song opens with a complex drum pattern and progresses with a continuous vibrant musical structure, but there is a sense of rhythmic beats and ambient threads, allowing the song to shape-shift.

Unfortunately, the album is instrumental and does not include any vocals of Kristoffer Rygg (vocals, programming), which might be the only thing that this album lacks. The final song has the same impression of synth pop music, but somehow my ears felt familiar with the past albums like “The Assassination of Julius Caesar”.

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