A QUICK FIX OF MELANCHOLY EP

Even though it's only 23 minutes long, you should really consider getting this EP because it's perfect. It consists of 4 moody songs which combine electric instrumentation with mellower acoustic sounds, combining one of the most unique sounds I have heard so far.

Its very hard to compare them to other bands - they have elements of Coil and even Radiohead's Kid A (albeit much darker). A Quick Fix of Melancholy is very different from the both the earlier and the later Ulver albums in that it has no black metal metal vocals as in Nattens Madrigal, it is not completely acoustic such as Kveldssanger (note that the last track is a remix of Nattleite from this album), and it still retains some acoustic instrumentation and strings as opposed to the almost completely electronic recent albums. Garm has a deep, operatic voice which when combined with the strings and the samples, create the best album of 2003.

NB - the track Vowels is another reference to Ulver's fascination with wolves - Ulver means wolves in Norwegian, and the word 'vowels' is an anagram of 'wolves'. Also, all the lyrics to this song have words which only have the letters which spell 'wolves' and 'vowels'.

An EP worthy of 5 stars - an anomaly!

No matter how unique Ulver are, A Quick Fix of Melancholy EP is an unusual EP. Unlike other group's short releases, which tend to be either too experimental for their own good, too incoherent and primitive or too immature, this EP is a gem. It seems that Ulver had everything at the time to record music for a little more than 20 minutes that would be as incredible as some of their longer albums. They must have taken the best ideas at that time that together with songwriting talent, intellect and help from other musicians would create a crazy little masterpiece.

The opener Little Blue Bird represents the sound and the mood of the album successfully. However, it is also the most minimalistic and repetitive track on the album. I must admit I dislike this song for some time for that reasons solely. Fortunately for me, I have grown to like when I finally got the point. The mood is the most important aspect of this composition. It is depressing and grim, almost suicidal. The main theme repeats throughout the song and your aim should be paying attention to all the layers mixed within the song as background. I don't suppose I should mention this, this being a Progressive Music website and all, right? A female guest performs really messed up distortion of opera vocals here, and Garm also sings, fitting the depressing mood of the song incredibly well - something Ulver *always* pull off, regardless of what they are up to or in to at the time. Definitely a grower. The next track is titled Doom Sticks and it departs from the opener's mood and sound slightly. It is more melancholic and still laid-down. The intro of this track reminds me of Gentle Giant's Pantagruel's Nativity from the Acquiring The Taste album a lot, although it could just be my associations not the actual description of the sound. It is also a better representation of the album as a whole - electronic meets messed up classical music, with electronic instruments, synthesizers and beats mixed with string instruments. The sound is clearly unique and definitely very proggy. It is less repetitive than the previous track and goes into the third track, called Vowels(get it?) with a perfect transition. This is definitely the most intriguing song here, featuring some of the most fascinating sounds the group have released on a record ever. A male opera singer(again, very messed up), quite possibly Garm trying a new role but also very likely not, supplies the vocals for this track, accompanied with other instruments it creates a fabulous vibe that has to be witnessed by every listener, from my point of view. The second half of the track is very different from the first - as eclectic synths take a step in, without the orchestration going anywhere. A rich, pleasant sound! Vowels is one of my all-time Ulver favourites without a shadow of doubt, although I'm not really one of the peoople who make lists of their favourite music. Eittlane closes the album and it is a remix of a track called Nattleite from their Norwegian Folk release Kveldssanger. However, it should not be treated as a mere bonus - the track takes the above-mentioned folky tune and changed it, without shifting the mood, but the sound in result is perfectly suited for this EP. There are electronic beats and more layers and it lasts for about twice as long as the original. I like it much more. Garm's vocals stay "untouched" from the original - they are unusual to listen to, knowing how greatly Ulver's sound has changed over the years.

What is left is to conclude is that this is a little gem that every Ulver fan should be proud of having in his collection. It is unlike anything they have done and yet so much like them. I even have no idea if it is Rygg singing on the third song or not, but what I just thought about is that it doesn't really matter! The vocals seem to fit that specific song amazingly well and the singer, whoever he is, captures the conception behind group's music successfully. I also have to say that if you have never exposed yourself to the music of Ulver, you should acquire this album first no matter what kind of listener you are. This is modern messed up classical music of our age, crazy and bizarre - something that I associate with prog more than anything else.

An essential EP!(who would have thought it!) (still giving it four stars, as it should have been a little longer...)

A little EP with a lot more to it.

Ulver continues their sonic experiment including more experimentalism with minimalism. A lot of this will be very repetitive, droning like. Again, we have Ulver pushing itself with more artificial sounds and even some classical like effects. Overall this record is generally calm, with the exception of the sharp string instruments on Vowels, an interesting little song that classic fanatics might like. Their is also an extremely depressing mood surrounding these songs, something that is easily noticed by the time you have reached Eittlane.

I can't say this is one of my favorites however, as I am much more inspired by Perdition City and Blood Inside.

This tiny EP contains some of the most creative and genuine modern experimental music. A perfect marriage (oxymoron?) between psychedelic, atmospheric, droning electronic music and minimalist classical and opera-style vocals. The journey is really rewarding, and the textures and really alluring. And though the sounds are sometimes obviously synthetic, the journey is so pleasing that you don't even notice, and the atmosphere is so strong that you excuse it when you do notice. All four tracks are distinct, with abso-freakin'-lutely no filler! The calmness that dominates the album is what generates most of the atmosphere and mood. I am increasingly surprised with every listen at how much I really really enjoy this drugged-out, yet beautiful, little psychedelic post-rock album.

Listen to this album on Spotify: http://open.spotify.com/album/06KAnF9LtC0WFf7ak9bTeI

This EP is perhaps my favorite work from Ulver and is amongst my favorite EPs ever created. The atmosphere created here is unbelievable and delivers, as the title promises, a healthy dosage of melancholy. The music is similar to that of Ulver's previous works although, of course, as of the entirety of their discography, it is a unique addition that does not entirely feel like left over tracks from a previous recording session. Kristoffer Rygg's vocals here soar over the electronic soundscapes created by the rest of the members. This is perhaps Garm's (Rygg's) most proficient performance in all of his work with Ulver. The tracks are short but each configure perfectly with their placement and correspondence with the other titles.

5 stars! A flawless addition to a nearly flawless discography!