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With their fourth studio album "Hulders Ritual" ('Ritual of the Huldra'), SLAGMAUR break the chains of repetition and nostalgia by rewriting the rules of black metal. This does not mean abandoning the foundations of the genre, which is already indicated by working with the 'inventor' of the 'Norwegian black metal sound', THORNS mastermind Snorre W. Ruch, as an additional producer. The band's founder, General Gribbsphiiser, rather unafraid and with reckless abandon mutates and warps the traditional formula through a host of subtle innovations and tweaks of the classic sound. Although "Hulders Ritual" continues, refines, and widens the daring stylistic balance of SLAGMAUR's previous works, it adds an extra dimension of sardonic mania to its collection of sharp and vicious sonic instruments. Choice guest-contributions that include TAAKE vocalist Hoest, DIMMU BORGIR guitarist Silenoz, and MISÞYRMING frontman D.G., who cover three decades of Nordic black metal make a case in point.

With their fourth studio album "Hulders Ritual" ('Ritual of the Huldra'), SLAGMAUR break the chains of repetition and nostalgia by rewriting the rules of black metal. This does not mean abandoning the foundations of the genre, which is already indicated by working with the 'inventor' of the 'Norwegian black metal sound', THORNS mastermind Snorre W. Ruch, as an additional producer. The band's founder, General Gribbsphiiser, rather unafraid and with reckless abandon mutates and warps the traditional formula through a host of subtle innovations and tweaks of the classic sound. Although "Hulders Ritual" continues, refines, and widens the daring stylistic balance of SLAGMAUR's previous works, it adds an extra dimension of sardonic mania to its collection of sharp and vicious sonic instruments. Choice guest-contributions that include TAAKE vocalist Hoest, DIMMU BORGIR guitarist Silenoz, and MISÞYRMING frontman D.G., who cover three decades of Nordic black metal make a case in point.

"Neverland", the fourteenth studio album by ULVER is the sound of an escape. A journey into undiscovered lands.

Following three albums – "The Assassination of Julius Caesar" (2017), "Flowers of Evil" (2020), and "Liminal Animals" (2024) – rooted in more traditional song and production structures, "Neverland" marks a new chapter in the revered Oslo band's history.

"With 'Neverland' we embraced a more 'punk' spirit – more dreaming, less discipline – freer, quite simply", the band comments on the creative process behind the album.

Bursts of daybreak synths and whooshes of sound set the atmosphere, before the wolves start digging into the dynamics of ambient calm and anarchic mysticism. Dreamy and transportive textures develop into trippy percussive energies, and as the album unfolds, a lush and vibrant, and at times exotic space opens.

Apart from a few recurring distant voices and vocal chops, "Neverland" is a largely instrumental record, reminiscent of the mood and structure of that place where late '90s IDM sounds met the meandering structures of post-rock.

The ghost of premillennial sample culture surely haunts "Neverland", and some might even hear echoes from earlier acclaimed works like "Perdition City" (2000), or the "Silence" EPs (2001), or more recently "ATGCLVLSSCAP" (2016).

Still, "Neverland" sounds and feels like something else, something fresh in ULVER's continuous journey of perennial reinvention. Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It's up to you.