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THE ASSASSINATION OF JULIUS CAESAR

Ulver

Post Rock/Math rock


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Ulver The Assassination of Julius Caesar album cover
3.86 | 47 ratings | 2 reviews | 26% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 2017

Songs / Tracks Listing

1. Nemoralia
2. Rolling Stone
3. So Falls the World
4. Southern Gothic
5. Angelus Novus
6. Transverberation
7. 1969
8. Coming Home

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Tore Ylwizaker / keyboards, electronics
- Kristoffer Rygg / synthpads, pedalboard, percussion
- Jørn H. Sværen / wind

With:
- Ole Alexander Halstensgård / electronics
- Stian Westerhus / guitars
- Anders Møller / tambourine, shaker, congas
- Daniel O'Sullivan / guitar, bass, keyboards
- Nik Turner (Hawkwind) / sax (2)

Releases information

Format: CD, Digital, Vinyl (Black, Ltd. Gold, Ltd. Clear)
Label: House of Mythology
April 2017

Thanks to mbzr48 for the addition
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Buy ULVER The Assassination of Julius Caesar Music


The Assassination of Julius CaesarThe Assassination of Julius Caesar
Import
House of Mythology 2017
Vinyl$22.04
$27.09 (used)

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ULVER The Assassination of Julius Caesar ratings distribution


3.86
(47 ratings)
Essential: a masterpiece of progressive rock music(26%)
26%
Excellent addition to any prog rock music collection(47%)
47%
Good, but non-essential (13%)
13%
Collectors/fans only (6%)
6%
Poor. Only for completionists (9%)
9%

ULVER The Assassination of Julius Caesar reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by aapatsos
SPECIAL COLLABORATOR Prog Metal and Heavy Prog Teams
3 stars ''Poor little sister, I hope you understand, the babe in the woods will be taken by a wolf''. And the wolf has spoken. ''Legends fail and houses fall'' but the wolf seems to be changing skin with every new release, like a ''Rolling Stone''. ''In the year of the Lord'' 2017 the wolf has decided to go pop, 80's synth and new-wave. Julius Caesar is assassinated, ''Nero lights up the night'' and ''tragedies repeat themselves in perfect circle'' throughout this sinister lyrical narrative.

Haunted, gothic, electronica, gospel (!) and trip-hop dances around the fire with a dose of 90's Tiamat and Dead Can Dance mashed with 80's Depeche Mode the Sisters of Mercy - nothing ''St. Teresa of Avila'' could do about such an assault of experimentation. This time the wolf abandons instrumentals and decides to sing extensively blending their voice in the hypnotic ambience of the album. Despite the dip in excitement in the last two tracks and the overall simplistic nature of the compositions which affects the lasting impression, Ulver will satisfy their ever-hungry-for-experimentation audience and add another stone to their hall-of-fame tower in progressive music.

Most murderous tunes: Rolling Stone, Angelus Novus, Transverberation

3.5 stars

Review by Warthur
PROG REVIEWER
5 stars 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.

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