ULVER — Nattens Madrigal: Aatte Hymne Til Ulven I Manden (review)

ULVER — Nattens Madrigal: Aatte Hymne Til Ulven I Manden album cover Album · 1997 · Black Metal Buy this album from MMA partners
4/5 ·
Warthur
The ambient transitions between songs and the acoustic break in the middle of the opening track prove that Ulver hadn't completely lost all ability to handle a recording studio for Nattens Madrigal - the absolutely dire sound quality on the black metal which takes up the bulk of this piece is 100% on purpose. On this album, Ulver take the lo-fi aesthetic which in moderation can add an interesting aesthetic effect to black metal and takes it to a ludicrous extreme, more so even than the likes of Burzum or Darkthrone who infamously went out of their way to reduce the sound quality of their albums in order to attain the atmosphere they wanted. The end result is an album which, if you aren't in the right mood for it, is an outright chore to listen to.

And yet...

There's a strange transformation which comes over the music when the sound quality is this bad. The instruments - particularly some of the higher-pitched guitar solos - often cease to sound like conventional rock band instruments at all and become more reminiscent of out-of-control industrial machinery or shrieking electronics. The vocals from Garm are so full of anger that they often sound as though he is fighting to get them out, like if he didn't give his all he would be completely lost in the mix. The rhythms and repetitive patterns which make themselves apparent in the music are powerful and hypnotic, and save the piece from being mere noise for noise's sake like, say, Lou Reed's Metal Machine Music. And the ambient interludes between songs provide a brief and haunting counterpoint to the full-on ugliness on show here. And the songs are in fact much more varied than they have been made out to be - the intro to Of Wolf and Passion suggests a sort of romantic power black metal, which is a combination I'd never thought I'd here.

After this, Ulver would turn away from black metal for good, but this last album is a challenging but I feel unique aesthetic contribution to the genre, and is certainly the best example I can think of of an album where a deliberate lo-fi recording style leads to a distinctive and individual aesthetic which simply could never have been captured in any other way - an aesthetic which is perfect for the album's concept, the saga of a man turned into a werewolf and who eventually embraces the wolf within him due to the misdeeds and cruelty of humanity. Ulver would leave black metal behind after this release to explore other musical avenues, but to those who have already sampled and enjoyed Ulver's work - particularly Bergtatt, their debut - I recommend it as perhaps one of the most intriguing experiments in extreme metal. That said, you'd be well-advised to manage your expectations accordingly; if you simply don't like lo-fi black metal you're not going to enjoy yourself here.
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