Ulver are veteran Norwegian multi-instrumentalists who have stayed relevant for over 20 years by genre-hopping better than just about anyone. After a highly influential stint in folky atmo-black metal, then wispy neofolk, then shrieking hyperborean grimness, they've dabbled in trip hop, ambient, drone, and modern composition, finally to settle on an ominous flavor of synthpop for their latest. The Depeche Mode comparisons are immediate, but I'm not one to complain. Tracks flow into one another quite well, remains low-tempo but high-energy. FCC-free.

Choice cuts: 3, 6, 8

Genre: Synthpop, grown-up goth, armchair historian
Friends: Depeche Mode, Psyche, Thomas Dolby, New Order, LFO, Nick Cave

1. (4:10) Fat, utilitarian drums and modular bloop bleeps, effortless vocal harmonies, beckoning pads. Hearing the guy who screamed Nattens Madigral croon about the princess of Wales is quite a trip.
2. (9:27) Serious grooves! Feels like we're far south of Norway. A female guest vocalist makes for some syrupy harmonies and a poppy singalong chorus with surprising swagger. Percussive intensity and synth noodling develop in the jammy back half.
3. (5:57) Plodding and ballad-like with unabashedly dramatic vocals. Something to do about the fall of Rome. Sword-clashing dancey good time takes you by surprise around minute 4. Could work in a lot of DJ sets! Awesome!
4. (3:40) A bit more upbeat than previous offerings. Some ghostly strings join the mix. Cryptic lyrics evoking fantastical ancient manuscripts.
5. (4:08) Groove teetering between martial and dancey, vaguely militaristic lyrics.
6. (4:31) Instrumentally this one could almost be mistaken for a Pet Shop Boys track! Lyrically we're back in Rome, discussing the shooting of Pope John Paul II. Magnificent chorus hits all kinds of synthy sweet spots. Italo disco from the shadows!
7. (4:00) Haphazard temporal shout-outs continue, this time to the late '60s: Roman Polanski, Charles Manson, the Stones, Anton LaVey all make appearances. Musically it's not especially notable.
8. (7:51) Discordant church bell-type sounds and chilling spoken word. Sparser, decidedly not-dancey beat. Almost Reznorian! Voices drop out and the arrangement evokes legions on the forward march. Saxophone coolness and the return of the voice make a satisfying and conclusive last minute.