(Rygg has obviously read Georges Bataille's Alleluia as well.) That said, his delivery is also an homage to the David Bowie of Scary Monsters. A martial bass drum loop holds massive synth washes in check as stacked, impeccably layered harmony vocals offer its tender melody, which offsets bleak lyrical content about the death of Princess Diana, referenced alongside the Homeric myth of the so-named goddess. First single and opening track "Nemoralia" recalls - deliberately - Black Celebration-era Depeche Mode. The sound, however, recalls early Talk Talk, with crooning female backing vocalists adding textural and emotional contrast amid the synths and faux string sounds. "1969" may reference the Beatles and the Rolling Stones, but also looks squarely at the address of Church of Satan founder Anton LaVey's infamous San Francisco house. Produced by the band, the album was mixed, appropriately enough, by Martin Glover (aka Youth).
Ex-Hawkwind saxophonist Nik Turner appears, as does improvisational guitarist Stian Westerhus. The Assassination of Julius Caesar hosts contributions from former member Ole Alexander Halstensg?rd and associate members Anders Moller and Daniel O'Sullivan. Sv?ren, and Tore Ylwizaker form Ulver's 2010s lineup. As they do, they lyrically examine and juxtapose elements of history, philosophy, spirituality, and the quark strangeness of popular culture. Here they circle back to the decade before their own musical emergence, delivering a deliciously dark, utterly seductive set drenched in moody '80s synth pop. Ulver have quite literally changed with every recording they're impossible to pigeonhole. "I want to tell you something/About the grace of faded things." This line from the song "Southern Gothic," delivered by Ulver's Kristoffer Rygg near the end of The Assassination of Julius Caesar, eventually becomes a manifesto for the single-minded aesthetic pursued on the group's first self-described "pop album." There is no irony in that statement.
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