Of course, for us metal fans, their Trilogie marks the band’s highpoint. The stunning blend of romantic folk and black metal remains unmatched save for a rare few albums. This era was chronicled in the 1997 vinyl boxset, but only partially. Ulver’s Vargnatt was excluded from the release, leaving the collection incomplete. Now with the new compilation from Century Media, Ulver’s black metal years have been completely catalogued – Vargnatt, Bergtatt, Kveldssanger, and Nattens madrigal, and with a four track rehearsal from Nattens madrigal included for good measure.

Going chronologically, Vargnatt is our first glimpse at what Ulver would become within just a few short years. Naturally, it’s a work in progress, but the elements that would come to define Ulver’s first three albums are there. The abrasive yet melodic guitar work is still in its infantile form, but the then teenaged black metallers managed to create some truly impressive tracks. Trollskogen gives a brief taste of the acoustic guitar driven folk that would make up Bergtatt and Kveldssanger and is probably the most mature track on the demo. The others are hampered by inconsistent vocals that range from Immortal-like croaks, to rasps, to whispers, to terrible, King Diamond inspired falsetto shrieks. Vargnatt is an interesting demo and it is a treat to see Ulver’s early material, but it’s safe to say that the band’s best work was ahead of them at this time.

Just two years after 93’s Vargnatt, Ulver’s first album Bergtatt saw the light of day. An astonishing step up from the band’s demo, Bergtatt was an improvement in every way imaginable. The instrumentation is better, the songwriting is better, the vocals are better, the atmosphere is better, the riffs are better. It’s mindboggling that the band was able to refine their sound in just two years. The huge, prickly wall of tremolo lays the foundation for the most seamless integration of folk and black metal to date, with folk influenced black metal riffs placed atop with such great care and feeling. It’s impossible to remain unmoved during the passages of cleanly sung Norwegian folktales. The atmosphere conveys not only the astonishing beauty of Norway’s vast forests and coastline, but also the evils lurking in their depths – nykks and trolls ready to do harm to unwary travelers. The folk sections that would later be expanded upon in the following album are sprinkled throughout the album, augmenting the enthralling atmosphere. Neither as harsh as Nattens madrigal nor as gentle as Kveldssanger, Bergtatt plays the middle ground so deftly and assuredly that it remains as fresh as it did the day it was released.

 
The year following Bergtatt saw Ulver’s first foray outside of metal with the release of Kveldssanger. While Bergatt used elements and sections of folk, it remained a black metal album at heart. Kveldssanger does away entirely with the metal aspects of Bergtatt and builds upon the acoustic framework of the previous album, using flute and cello to flesh out the sound. The additional instruments are used sparingly and the majority of the album is made of the minimalist interplay between two acoustic guitars, gently playing off each other and creating a harmonious rapport. Garm’s lingering chants accompany the guitars and give the album a somber atmosphere. This is furthered by the constant use of minor key which makes the album live up to its name. This is not a happy album, but it is beautiful. While the individual tracks don’t stand out on their own, the album is great to listen to as evening comes down in the late fall. Kveldssanger doesn’t quite live up to Bergtatt (or Nattens madrigal for that matter), but it does show Ulver’s admirable ability to work outside their comfort zone. 

Nattens madrigal followed just a year after Kveldssanger, and like the album before it, it was a huge diversion from the band’s previous material. While Bergatt showed that the band could play black metal, it was usually more mellow and atmospheric. Nattens madrigal concentrates on the harsher sections but cranks the treble up to eleven. It’s no exaggeration to say that this album is painful to listen to. The absurdly raw production is at odds with the extremely melodic nature of the riffs. If not for the guitar tone this album would practically be a melodic black metal album. And while album is almost entirely black metal, the riffs have a folkish sense of melody to them, showing Ulver’s roots. When I heard that Trolsk sortmetall would have remasters of all the albums I was actually excited to hear a version of Nattens madrigal that didn’t give me a headache. The remaster cuts back on the treble and puts some more bass into the music. Turns out we weren’t missing much in that regard, but the increased listenability of the album is welcome. The extra material is a previously unreleased four track recording of a rehearsal for Nattens madrigal on tape. It’s exactly what you’d expect but it’s a nice inclusion nonetheless.

The music on Trolsk sortmetall is top notch, and the packaging is too. The boxset is a thick, matt cardboard box with silver lettering. Each album comes in its own sleeve with the original album art. Included in the boxset is a large booklet with lyrics in Norwegian and English, notes from the band and the owner of Head Not Found, as well as numerous pictures. There is also a poster featuring images of werewolves. The whole package oozes quality and the asking price is more than fair. The remasterings sound excellent, and in the case of Nattens madrigal it’s a huge improvement. The CD version is sold out from CM in the USA, but it’s still possible to track it down without too much difficulty. The vinyl boxset is trickier to get but it’s still possible. I recommend you go out and buy a copy immediately while it’s still possible. A lot of work went into this excellent release and it shows. Truly one of the highlights of 2014.