Ulver Archives

Best Albums: Have a Nice Life, Les Claypool’s Duo de Twang, Sunn O))) & Ulver, Bohren & Der Club of Gore, Xiu Xiu

Have a Nice Life: The Unnatural World
Les Claypool’s Duo de Twang: Four-Foot Shack
Sunn O))) & Ulver: Terrestrials
Bohren & Der Club of Gore: Piano Nights
Xiu Xiu: Angel Guts: Red Classroom

Morrow vs. Hajduch: Faun Fables’ Light of a Vaster Dark

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Faun Fables: Light of a Vaster Dark (Drag City, 11/16/10)

Faun Fables: “Light of a Vaster Dark”
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Morrow: Borne of principal songwriter Dawn McCarthy, Faun Fables is a powerful, somber, and multifaceted brand of neofolk songs and theatrical performance. The group’s works also are developed by co-conspirator Nils Frykdahl of Sleepytime Gorilla Museum, and their breadth of instrumentation comes courtesy of assorted guests.

Light of a Vaster Dark is Faun Fables’ first album in four-and-a-half years, and it again is led by the dynamic vocal interplay of McCarthy, Frykdahl, and others — blending elements of the 1950s/’60s American folk revival, medieval and Celtic music, and the catchall “psychedelic folk.”

Though McCarthy’s clear intonation and wavering vibratos are the real star, Frykdahl’s backing vocals add a necessary baritone presence, and the album’s range of sounds is just as vital. Guitars, violin, flute, bass clarinet, autoharp, Theremin, and homemade instruments all offer different sonic flavors behind a vocal presence that can sound a little homogenous from time to time.

The Metal Examiner: Agalloch’s Marrow of the Spirit

Every Friday, The Metal Examiner delves metal’s endless depths to present the genre’s most important and exciting albums.

Agalloch: Marrow of the Spirit (Profound Lore, 11/23/10)

Agalloch: “The Watcher’s Monolith”

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Although Agalloch dons its album covers with images of winter and writes songs featuring tremolo-picked minor chords and shrieked vocals, the Portland quartet is best understood as a heavy progressive-rock band rather than a black-metal band.

Since the late 1990s, the group has released purposefully genre-blending music with a somber, melodic bent. Marrow of the Spirit, just the band’s fourth full-length album, must be compared to the work of black-metal-gone-experimental artists like Ulver and Enslaved, but a better reference point is the work of ’70s prog-rock bands like Comus. Songs are sprawling layers of riffs that meander between different themes and styles, touching on blast beats, acoustic breaks, and atmospheric post-rock passages.

David V. D'Andrea: Ulver album art (photo by Roger Johnsen)

Posters & Packaging: David V. D’Andrea’s Psychedelic Haunts

The connection between visual and auditory art seems natural to graphic artist David V. D’Andrea, who notes KISS album artist Ken Kelley, Metallica’s merchandise designer Pushead, and Dischord Records founder and designer Jeff Nelson as fundamental influences. “The artists I looked up to when I was young were all music based,” he says. “Early on I saw the music and visuals as one in the same.”

Since the early 1990s, D’Andrea has gradually become a staple in the West Coast music scene. Growing up, D’Andrea produced zines and fliers – generally in the DIY fashion of Xeroxing – for a variety of underground bands in the Oakland, California area. By the mid-’90s, the artist’s work began to receive well-deserved attention: D’Andrea soon had a commission for an album cover.