Cultartes Presents The Debut Album of Ulvesang: Ulvesang (Review)

Ulvesang (Canada) is a project that involves genres such as Neofolk, Darkfolk or Neoclassical. It is an interesting combination of melancholy and a sound that may seem familiar to those who appreciate this kind of music. It reminds me of The White by Agalloch, and the feeling is kind of similar, too. Well, there are a many names that remind me of Ulvesang material, but I stopped here just to make a broader feedback.

Ulvesang is a linear composition; it could easily be a 36 minutes song. This melancholy can be boring at a time, especially if you don’t have something to unsettle your sleepy state of mind. But it looked like in the end I was craving for some Nest, Vàli, Nebelung, Empyrium or Tenhi. And this doesn’t have to be a bad sign at all. No more comparisons! I think Ulvesang is a moody album, located in a certain soul, riding some thoughts. I like how the voices implement perfectly with the sound, into a calm choir. The voices are transformed into heavenly beings without any impact on the notes, hanging on the shore of songs, like willows with locks into the shy breeze.

Maybe I am overreacting in my description, with too much poetry, but this is how my imagination reacts when I am listening to this type of music. This Neofolk, with all its influences, has always had a slightly poetic air. They seems to understood very well how music works, and it looks like they’ve studied the history and the philosophy of the genre and they released a material that can easily be put into a playlist with many more resounding names. And how the winter is coming, I believe this is a must-have, you know, fireplace, a cup of hot tea, dim light, steadiness of outside…

Ulvesang is:

Ana Dujakovic – guitars, samples, and conceptual direction.

Laura Marr – Cellos and general depth of knowledge.

Chaote Alex Boyd – Guitars, compositional tyranny, hackneyed recording and general melancholia.

To be mentioned that Ulvesang is looking for a label, so pay attention.

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