I’ve never been a huge fan of Ulver’s electronic excursions. Their shift away from the folky black metal trinity: Bergtatt (1995), Nattens Madrigal (1996), and Kveldssanger (1966) into ambient and synth-driven territory with 2000s Perdition City has always felt like something I could appreciate from a distance without truly connecting with. So my expectations for this new album, Neverland were modest at best.
That said, this album surprised me in places. There’s a texture to these compositions that feels more considered than some of their previous electronic work. The soundscapes have a cinematic quality that occasionally transcends mere mood-setting, and there are moments where the layering genuinely pulls you in. A few tracks offer genuinely cool ideas—”Elephant Trunk,” “Pandora’s Box,” “Hark! Hark! The Dogs Do Bark”— atmospheric passages that hint at something darker and more interesting lurking beneath the polished surface.
The problem is consistency. For every intriguing sonic detour, there’s a stretch that feels overly indulgent or meandering. And Garm’s vocals are nowhere. The album never quite commits to being either challenging or accessible, landing somewhere in an uncertain middle ground. It’s pleasant enough as background music, but it rarely demands your full attention the way their best work does.
Neverland won’t convert me into a devotee of electronic Ulver, but it’s a solid enough entry in their catalogue. If you’re already on board with their synth-heavy era, you’ll likely find plenty to enjoy here.
