Liminal Animals

Ulver have always been the ultimate chameleons of the Norwegian underground, transitioning from the frost-bitten shrieks of their early black metal roots into the sophisticated, avant-garde landscapes of the modern era. With 'Liminal Animals', the project finds itself navigating a hazy, nocturnal space where the distinction between 'black metal' and 'electronic' becomes pleasantly blurred. It is a record that prioritises atmosphere over aggression, inviting the listener into a dreamscape that feels both derelict and meticulously designed.

From the opening moments of 'Ghost Entry', the production choice is clear: it is a dense, claustrophobic atmosphere. The synths are not merely backing tracks; they are the skeletal structures upon which the melodies are draped. As a fan of melody-first construction, I found the harmonic interplay in the first third of the record to be particularly striking. The way the synthesizers weave through the space suggests a producer's sensibility—nothing feels accidental, yet the textures remain sufficiently organic to keep the 'human' element alive amidst the digital decay.

Ulver masterfully balances the ethereal and the industrial, even if the runtime occasionally tests the listener's patience.

'A City in the Skies' and 'Forgive Us' establish a brooding, cinematic momentum. The guitar harmonies here are subtly layered, providing a melodic backbone that prevents the electronics from becoming monotonous. There is a certain brooding majesty to the composition, where the 'metal' element is felt more in the weight of the chords than in the speed of the execution. It is patient music, demanding that the listener inhabit the space rather than simply passing through it.

However, it is in the central movement of the record where the 'Lim1inal' aspect becomes most apparent. 'Nocturne #1' and 'Locusts' lean heavily into the ambient textures. While the songwriting is undeniably evocative, I found myself testing the limits of their restraint. There is a fine line between 'atmospheric' and 'repetitive', and in 'Locusts', the pacing begins to drag slightly. It is a gorgeous piece of soundscape, certainly, but at times it feels as though the track is lingering in its own shadow for a few beats too many.

'Hollywood Babylon' provides a necessary shift in dynamic, introducing a more jagged, urban energy. The juxtaposition of the name with the sonic aesthetic suggests a decay of glamour—a recurring motif in Ulver's broader discography. The synth-work here is particularly crisp, providing a sharp contrast to the more washed-out tones found in the 'Nocturne' segments. It is a sophisticated piece of production that keeps the listener engaged as the album pushes toward its climax.

'The Red Light' serves as a masterful transitional piece, pulling the listener back into the darker, more grounded elements of the sonic palette. The melody here is hauntingly memorable, staying with you long after the track concludes. It balances the electronic flourishes with a grounded, heavy weight. The inclusion of 'Nocturne #2' and the closing 'Helian (Trakl)' rounds off the experience with a sense of finality, though the sprawling 51-minute runtime does mean the listener must possess a degree of patience to see the journey through to the end.

In total, 'Liminal Animals' is a sophisticated piece of work that rewards the attentive listener. While the occasionally indulgent runtime might deter some, the sheer quality of the production and the masterful layering of melodic textures make it a compelling listen. Ulver remain masters of the 'in-between', occupying that ghostly space where shadow meets light, and digital pulses meet heavy, lingering chords. It isn't always a sprint, but when they do lead the way, the scenery is breathtaking.