Warthur
You'd think that by this point in their career, after all the twists and turns they've taken us down, the prospect of Ulver trying out a radically different genre from their former work would be utterly unsurprising - I mean, this is the same band which bounced from kvlt black metal to dark folk across their first two albums, after all.
And yet, somehow The Assassination of Julius Caesar manages to be another whiplash-inducing swerve from Ulver, shifting into the realm of honest-to-goodness synthpop. The secret to it, which makes it perhaps my favourite Ulver release ever, is that this is a style of gothy synthpop which feels distinctly Ulver, particularly in terms of their electronic and ambient works of their post-metal era.
After all, Dressed In Black on Blood Inside verged on the electro-gothic, so this isn't an evolution entirely without precedent, and whilst 80s nostalgia synthwave stuff is in vogue at the time, Ulver are able to artfully defy expectations by making the most 80s-tastic cut on here a tribute to 1969. Moreover, just because they've gone synthpop doesn't mean they've gone simplistic with it; there's complex, ornate passages here which reveal hidden depths to their sound, and I'd urge anyone turned off by the synthpop approach to at least give cuts like Rolling Stone or Coming Home a chance before writing off this album out of hand.
Is this what we wanted or expected from the next Ulver album? Almost certainly not, but by this point we'd be fools to expect Ulver to do what we want or expect - better to simply let them do their thing, and celebrate it when that results in creative masterstrokes like this.