Bergtatt
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According to Haugen's Norwegian-English Dictionary, the word "bergtatt" means to "lure into the mountain," specifically in reference to mountain trolls, with a secondary meaning of "bewitch" or "cast a spell over." Ulver's 1994 album of the same name captures this feeling of enchantment, placing the listener in the position of the spellbound subject of "bergtatt." Although Ulver provides plenty of blasting brutality, the overall feeling of the album is one of awestruck wonder, as if being drawn into a supernatural realm by something unfathomable yet irresistible.

While Bergtatt is almost undeniably a Black Metal album, and has its share of intense blasts, harsh mid-range screams, and droning guitars, Ulver skillfully incorporate disparate elements from folk and classical music into their songs, creating a Black Metal album that stands apart from the rest of its kin. The first track "I Troldskog faren vild," incorporates no Black Metal-style vocals at all in favor of a clean vocal timbre overdubbed several times and saturated with reverb to create a choral effect, lending the vocals a powerful, almost sacred quality. The entire album is peppered with vocals of this style as well as acoustic interludes and an occasional flute and piano. Even within moments of extreme blasting violence, the non-traditional elements enter like voices within the whirlwind. Particularly arresting is the use of an acoustic guitar under a blast figure in the final track and a wordless choral vocal in the second (of singular interest also as it lends a human touch to a space usually occupied by synthesizers). Ulver's use of choir-like vocals and acoustic instruments tempers the overall sound in parts, but the textures they create result in a uniquely intriguing album.

The production of the album is somewhat atypical in that each instrument can be clearly discerned in the mix, eschewing the huge wall of sound preferred by many in the "true" Black Metal camp. The bass is conspicuously present, and rightly so as it provides a melodic lead in several instances. In an album marked by instrumental subtlety and diversity, the recording's clarity is most welcome and doesn't hinder the majestic nature of the music in the slightest.

Since I unfortunately don't speak Norwegian, I can't comment accurately on the lyrical content of the CD (and even if I spoke the language, I'm not sure I could decipher the über-Germanic font in which the lyrics are printed). As a listener, however, I don't see this as a severe liability, as I find that the lyrics' incomprehensible nature only adds to their supernatural qualities. From what I can discern, however, there does seem to be a narrative form to the album, most obviously stated in the album's subtitle "Et Eeventyr i 5 Capitler,"very loosely translated as "An Adventure in Five Chapters." Ulver's lyrics are also divided up in such a way that they clearly reference different characters, one of note being "De Underjordiske," referring to the "hill folk," gnomes and goblins that live underground according to legend.

Ultimately, Bergtatt is a prime example of the majestic and sweeping soundscapes that Black Metal can achieve, along with Emperor's Nightside and Anthems albums. While many in the Black Metal community rely on volume and density to craft a sense of supernatural magnificence, Ulver seem more introspective, using sparser textures and more varied instrumentation to give their glimpse into the mystical and fantastic a uniquely personal feel