Kristoffer rygg astrology

In the song Ecclesiastes A Vernal Catnap , it made sense to pick up the mic because it was nice to sing on top of the mellow music. In fact, we usually played that one at the end of the shows, with varying degrees of success.

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I think we hide the humour in our albums a little too well. I do feel that some people take us a little bit too seriously sometimes. When discussing his influences, Rygg mentions Magma, King Crimson and Swedish psychedelic band Goat, and the strongest influence detected in this new album is earlys German psychedelia.


An album like Blood Inside is definitely prog and in my opinion probably our most prog album, although some people might disagree. In fact, we had some good times with Kscope, who are a pretty prog label, where we shared the roster with some bands that are more explicitly prog than we are. It would be fair to say that Ulver have mastered the concept album. You can leave a response , or trackback from your own site. Name required. Mail not published, required. Now Playing Loading See the latest updates. Merch available in limited quantities.

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Well, the grave ultimately. We got lucky, I guess. We did okay as young men and that made it possible for us to continue making music and set up our own studio and such. I imagined things really changed for the band with Dan coming in all those years ago. Well, yeah, of course. Things were changing overall. Is there anything in particular that you felt he brought to your collective that was missing? Overall it makes the band stronger, more capable and multifaceted as I see it.

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I might add that we have actually functioned more like a collective of people the last five years or so. I was just wanting to check on some of the other work that Ulver has coming up.

We sort of need to restructure the entire dramaturgy of it. Did you approach the writing for that in a similar way to your soundtrack work in the past, like Lyckantropen Themes? Not exactly.

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The soundtrack thing is quite closely linked to real-time, in a way. You have to find tempos and stay on grids and simultaneously hit the cues and such in a bit of a disciplinary way whereas the thing we did with the National Theatre was to make a lot of different music trying to touch on the moods of the thing in a quite loose way and then the director and the sound guy at the theatre would choose which backgrounds they liked, or that worked in rehearsal, and use it rather freely. Have you have any further thoughts on that? That Roadburn show was one of my highlights that year but it seemed to really polarise people — it was a real love-hate thing.

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It usually is with us! I was having too much fun and to us it felt real tight and the vibes were just great. Too much flower power. The final future thing was that you are repressing Perdition City with Metamorphosis. How was it revisiting that material, particularly Metamorphosis?

Was there much treatment of it? Test presses sound really good now I think.


The first press we had to reject. I think Perdition City has some pretty strong characteristics overall, that resonate with that era. I remember well the times… when we made that stuff, sort of pre-millennium urbanoia going on you know [laughs], it was pretty intense.

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