Ulver — Hexahedron (Live At Henie Onstad Kunstsenter)

After last year’s Flowers Of Evil, and its deepening of Ulver’s wordy and dark synth-pop sound. This recently released album sees the band investigating the more long-form jam side of their sound. The four tracks feature elements of ambiently hovering kosmische Musik,  throbbing ‘n’ building 80’s instrumental electronica, detailed percussive work-outs, and moody often electro bass edged 80’s dance synth atmospherics.

The release came in four editions: CD, and three different double vinyl versions-clear, white, transparent blue. I'm reviewed the CD, which I see is now sadly out of print- this comes in a clear jewel case, with a twelve-page booklet, featuring a series of geometrically shaped landscapes and a four-page write-up about the album, the live show, and it’s concepts.

Hexahedron is a live recording of one of the sets the band did over a two-night tenure at Henie Onstad Kunstsenter in Høvikodden during April 2018. And each of the lengthy jam-like tracks rolls in between the eight and nearing nine-minute mark- with the band nicely building and investigating each of the tracks element, yet even on the longer tracks they never overmilk things- meaning this is a most consistent and rewarding album.

We open with “Enter The Void” this builds from simmering and vibe like tone hoovers, moving onto droning and billowing spacy-ness, before shifting to climbing organ meets moody space whispered edged finale.   Next, we have “Aeon Blue”, which moves from its lightly tolling ‘n’ throbbing synth tone beginnings to a layered and lightly grooving moody electronica track.  There’s snapping beats and buzzing synth bass of “A Fearful Symmetry”- which as it grows adds in stabbing-to-waving synth keys, and clocking ‘n’ knocking percussive detail. Midway through we get the addition of Kristoffer Rygg’s instantly recognizable moody and atmospherically wailing vocals, but these only stay around for a few minutes before the track nicely builds to a percussive and synth layered crescendo.

The album is finished off with the albums longest track the nearing nineteen minutes of “The Long Way Home”. This opens with a blend of warbling and baying 70’s synth craft, which is underfed by building and snapping beats. As we move deeper in we get bouncing ‘n’ throbbing 80’s dance synth bass coming into play, and this is slowly but surely built around by layers pulsing-to-cascading keys, snaking electro beat detail, and building harmonic synth lines/ snapping beat currents.

In finishing, I must say I found Hexahedron one of Ulver’s more rewarding and consistent jam track-based releases. With each of the four tracks having a good blend of memorable and moody songcraft, as well as interesting and eventful shifts/ builds. If you’d like to purchase this direct drop by here.