The
Metamorphosis EP, issued in September 1999, showcased
Ulver's new
electronic sound, delving into what would become the foundation for all future records, Now consisting of only two members — Rygg and Ylwizaker — the duo started to incorporate
field recordings into their work. During the making of
Perdition City Ylwizaker would hang microphones outside the window of his 5th floor apartment to capture the sounds of the inner city streets. Subtitled
"Music to an Interior Film",
Perdition City, and companion
EP’s
Silence Teaches You How to Sing and
Silencing the Singing, represent the transition to the band's work in
film scores, largely inspired by the results of electronic programming and digital sound manipulation they had experimented with during the recording of ''
Themes from William Blake's The Marriage of Heaven and Hell. Leonards Lair state that Perdition City'' is “much more than background music, which is capable of adding atmosphere to a film, but taken out of context as a standalone piece is ultimately worthless. This music is too obtrusive, and to be frank, too good for a soundtrack.“ Expanding on the photography included in the
Perdition City booklet, Rygg comments, "We didn't consciously think of taking the listener into a concrete city, it's more of a metaphor and abstract. A friend of mine who has written books and taken many photographs inspired me to capture weird pictures. We then compiled the best of them to support the story the lyrics make. We tried to make an anti-aesthetic whole that would create a documentary feeling." Rygg adds, “Darkness is always fascinating, as well as the great void. It doesn’t matter under which aesthetic circumstances this void appears. It is always there and that was important for us to realize on
Perdition City: the void is even over the voice. (…) It is funny you call us criminal alchemists. Indeed in our lyrics there are enough criminal and alchemical aspects, or fascinating borderline topics, to be more concrete. That all takes place in the dead city, or better: in a centre, an imagined location of nowhere and nothing.” Rygg, commenting in Unrestrained magazine in 2007, said, "It's like I say, we only have three consistent albums. I think
Nattens madrigal is one, I think
Perdition City is one, and I think this new one [
Shadows of the Sun]. They all sound pretty dead set. We were heavily into stuff like
Amon Tobin,
Warp Records, et cetera, and that certainly influenced the sound of that one." Continuing, “[Making film soundtracks] was more painstaking work than we thought. It's exciting work, but it's also more commercially orientated. You can apply your own tastes and your own vision, of course, but only to a certain extent. It always comes down to what the director and producers have in mind. And I respect that, as they are the ones with lots of money at stake. As a musician, it's an advantage if you get involved early in the process, before the editing is done because then you can cross edit sounds and images for better momentum or what have you. Whereas if the stuff is already edited, it can be difficult to get it to fit. Also, you have to learn to put your ego aside because the film itself is obviously the priority, so it's not like making an album. It's not music on its own terms. It's an underscore, aimed more at the subconscious experience. In a cinema context, you're not really supposed to listen to the music, but feel it." ==Critical reception==