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Ulver The Assassination of Julius Caesar album cover
3.82 | 65 ratings | 4 reviews | 22% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 2017

Songs / Tracks Listing

1. Nemoralia (4:10)
2. Rolling Stone (9:26)
3. So Falls The World (5:57)
4. Southern Gothic (3:40)
5. Angelus Novus (4:08)
6. Transverberation (4:31)
7. 1969 (4:00)
8. Coming Home (7:50)

Total time 43:42


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Music tabs (tablatures)

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Line-up / Musicians

- Tore Ylwizaker / keyboards, programming
- Kristoffer Rygg / vocals, programming
- Jørn H. Sværen / various
- Ole Alexander Halstensgård / electronics

- Rikke Normann / vocals (2)
- Suzanne Sumbundu / vocals (2,7)
- Stian Westerhus / guitar (1,2)
- Daniel O'Sullivan / guitar (4,6)
- Håvard Jørgensen / guitar (7)
- Nik Turner / sax (2)
- Dag Stiberg / sax (8)
- Ivar Thormodsæter / drums
- Anders Møller / percussion
- Martin Glover / samples, strings
- Michael Lawrence / samples, strings

Releases information

Artwork: Trine + Kim Design Studio based on Gian Lorenzo Bernini's "The Rape of Proserpina" (1621-1622)

CD House Of Mythology ‎- HOM 010 (2017, UK)

LP House Of Mythology ‎- HOM 010 (2017, UK)

Thanks to mbzr48 for the addition
and to Quinino for the last updates
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The Assassination of Julius CaesarThe Assassination of Julius Caesar
House of Mythology 2017
Audio CD$10.69
$11.74 (used)

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ULVER The Assassination of Julius Caesar ratings distribution

(65 ratings)
Essential: a masterpiece of progressive rock music(22%)
Excellent addition to any prog rock music collection(45%)
Good, but non-essential (17%)
Collectors/fans only (6%)
Poor. Only for completionists (11%)

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
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.

Review by BrufordFreak
COLLABORATOR Jazz-Rock / Fusion / Canterbury Team
4 stars The reincarnation of Depeche Mode and New Order? Great collaborations, and Garm's voice has NEVER been better!

1. "Nemoralia" (4:10) How can you not love this one! "Nero lights up the night (eighteenth nineteenth of July)" and its dedication to Diana Spencer! With an awesome pop hook. Sounds like a YAZ song. By far my favorite song on the album. (9.5/10) 2. "Rolling Stone" (9:26) could be a great New Order or OMD song--even down to the background chorus girls. It not only rocks, it throbs. Great "A Day in the Life" crescendo ending! (9/10)

3. "So Falls the World" (5:57) piano base with awesome synth flourishes throughout. This one sounds very much like an Ulver song. (9/10)

4. "Southern Gothic" (3:40) a little too much like an ABC, PROPAGANDA, THE THE, or YAZ song (though it's so nice to hear!) The vocal sounds like DEPECHE MODE's David GAHAN They've certainly mastered the style! (8.5/10)

5. "Angelus Novus" (4:07) synth washes break for Garm's echoed and, later, doubled voice. At the one minute mark the full musical arrangement joins in. Nice long-held vocal notes. Never becomes the engaging, melodic song you hope for. (7.5/10)

6. "Transverberation" (4:30) more synth and guitar floursishes and riffs á la ABC and other 80s synth bands that I'm not pegging. Nice but could have used a little more shifting and transgressing. The closest we get is the TEARS FOR FEARS/early SIMPLE MINDS/DEPECHE MODE shift at the 3:00 mark. (8/10)

7. "1969" (3:59) more synths, this one more bouncy in a ABC/PSYCHEDELIC FURS/SPANDAU BALLET-like way. I do like the female background vocals used on this one and "Rolling Stone." For 60s buffs, the lyrics are full of 1969 references. See if you can pick them all up! (8/10)

8. "Coming Home" (7:50) interesting MOBY-like vocals with MASSIVE ATTACK/PAUL OAKENFOLD-like music. Out there, experimental; I'm not sure I like it. The second half with its house/rave-like synth beats and solos becomes more engaging. Okay, I like it. It's cool. (9/10)

A solid four stars; an excellent representative of retrospective progressive rock from the bravely chameleonic and unpredictable wolves from the north.

Review by Mellotron Storm
4 stars In 2017 ULVER have created an 80's styled Synthpop record in the mold of DEPECHE MODE. I personally don't have any issues with this style of music being a pretty big DEPECHE MODE fan, and being in my late teens, early twenties through the first half of the eighties meant I heard a lot of this style of music. Of course this is ULVER so they mix it up a little but there are some really good songs on here. Lots of synth pads and electronics and the atmosphere is often dark. Some feel there's a vibe from their classic "Perdition City" album. Personally I prefer that live album("ATGCLVLSSCAP") they did recently to this new studio album but that's me.

"Nemoralea" is a favourite of most that have reviewed this. It doesn't make my top three and in fact I think the lead off track should have been something else. Heavy drums to start as vocals and synths join in. Some vocal melodies too on the chorus. Catchy stuff. I like the brief instrumental section 2 1/2 minutes in. Not a bad start.

"Rolling Stone" is a top three for me. Percussion and experimental sounds before a heavier beat and fuller sound takes over. Sax from guest Nik Turner arrives. A full sound after a minute. Vocals just before 2 1/2 minutes followed by the chorus with female vocals. Love the intensity around 8 1/2 minutes. Oh my! Just an insane wall of sound.

"So Falls The world" has this dark atmosphere with sparse piano then vocals and a fuller sound arrive before a minute. The chorus has such a feel good vibe to it. The focus is on the vocals here and this song is one warm and melodic piece. The tempo picks up surprisingly after 4 minutes driven by electronics and drums.

"Southern Gothic" has this experimental intro with odd sounds coming and going. Drums kick in with a full sound. So 80's sounding including the vocals that join in. One of the more commercial sounding tracks on here.

"Angelus Novus" has some beautiful atmosphere to start with spacey synths before the vocals and a more serious sound takes over. This is fairly dark but it does brighten as it plays out.

"Transverberation" has a lightweight intro I'm not into. In fact this is the most commercial sounding tune and there are vocals. It's actually not bad once it gets going.

"1969" is a top three for me. Synths and beats as the vocals join in quoting John chapter one. Female backing vocals help out and there's many references to 1969 including Rosemary's Baby, Helter Skelter, the moon landing, Let It Bleed and more. Great track!

"Coming Home" is my final top three. A spacey intro to say the least before spoken words and powerful sounds start to come and go. Interesting. It starts to pick up after a minute as he begins to sing. He's speaking the lyrics soon enough as it settles back. Electronics take the lead as the vocals step aside before 3 minutes. It picks up again though after 3 1/2 minutes. This is good. Sax joins in too with some innovative sounds. The vocals are back after 7 minutes.

This isn't for everybody clearly but in my opinion this is incredibly well done but it's not without it's flaws. A solid 4 stars regardless.

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