Review Summary: If only Flowers of Evil sounded more like these live improvisations...
It took a while, but lately I have grown fond of this live jam experiments side of Ulver. Known to spend considerable amounts of time in the studio fine-tuning each second of their output until pleased, these concerts were probably a stressful, but important step in the opposite direction for them. 2014’s
ATGCLVLSSCAP was the first release to feature improvised material, however, the songs were later refined in the studio.
Drone Activity followed, revealing four long, free-form compositions which felt part of a whole for the first time. Yes, it was an indulgent listen, yet the music shared a completely different vibe than their main LPs. Now,
Hexahedron brings forth a similar approach, albeit more focused overall. Highlights include ‘Aeon Blue’ and ‘A Fearful Symmetry’, containing main chords and beats from
Flowers of Evil cuts ‘One Last Dance’/’A Thousand Cuts’ & ‘Little Boy’, respectively. Nevertheless, the shape and progressions reach into completely different territory. The former’s new wave influences and ‘90s-like drum patterns reminisce Moby’s
Play/
18 ambient-oriented tunes, only more fleshed out. ‘A Fearful Symmetry’ brings out a dancefloor, ABBA-esque, bass-led groove alongside warm synthesizers and smooth percussion. Rygg offers a powerful and less processed version of the vocals that would be later recorded for ‘Little Boy’. Honestly, I believe
FoE would have sounded better, had Ulver used loose, wandering arrangements such as these on the entire album.
The remaining tracks add diversity to
Hexahedron, ‘Enter the Void’ being the show’s slow opener. Windy synths and chimes drone for several minutes, growing in intensity, until they fade into ‘Aeon Blue’. Meanwhile, ‘Bounty Hunter’ gently delves into Tycho territory. The melodic keyboards are contrasted in the most Ulver way with feedback noises and a rather brooding synth bass line. Moreover, ‘The Long Way Home’ allows the sequencers to build the atmosphere, whereas a layer of plucked keys notes and cowbells add a hypnotic touch to the cut. I really dug the beat switch halfway through, changing the entire mood of the song. The guys allowed themselves to sound even playful for a short while there.
Overall,
Hexahedron is an improvement to this live jam series the Norwegian act has been developing. Some tracks may overstay their welcome, but given the context and nature of the recording, Ulver sound considerably more relaxed and eager to explore in a live setting as well. The LP can be easier listened to actively for its entire duration this way.
