Antonello Cresti

- I always thought that one particular word is perfect to encapsulate the deep meaning of your experience with Ulver. That word is “evolution”. How important is this concept for your music?

- Nobody comes from nothing. Exactly how it happened with Coil, it’s clear that you show musical and artistic influences, but the great thing is that everything is transformed under a new, personal, light. Would you like to trace a list of important figures for Ulver now?

- With you last work “Messe” you tried to create something that was experimental and spiritual at the same time. How important is spirituality for your creations? Is it possible to describe which kind of spirituality is moving your inspiration?

- We live in a world where everything is commercialized. Your music would be definitely described as “too difficult” by our marketing gurus… Actually I think that music has to be radical especially in this moment. Do you agree?

- Your next forthcoming work is a collaboration with Sunn O))). This band, even from an experimental point of view, is coming from a black metal background, just like you. How do you see your first album now? Are you still listening to any BM music?

Gennaro Scala

- Is “Childhood's End” a commemorative album? It ends with Agnus Dei. Is only garage and psychedelic music dead or every kind of rock and popular music is dying? I think that the culture born in the 60s is coming to an end. Has it nothing to do with your constant exploration of musical creativity?

- “The marriage of Heaven and Hell” represents a very important piece of Ulver's history. This is the album that marks the end of your involvement with metal, according to your recent interview. I will try to give my interpretation. William Blake said: “If the doors of perception were cleansed every thing would appear to man as it is, infinite”. As you know, this line inspired Aldous Huxley, who titled his famous book “The doors of perception”. This title gave the name to The Doors. It was a milestone moment in rock history. From my point of view, this is an individualistic approach to infinity, based on an accumulation of sensorial experiences (“Are You Experienced?”, from the Jimi Hendrix Experience). I think that your return to Blake means a return to origin, coming back to his holistic and dialectic vision. Maybe it is because of the crisis of rock and modern popular music nowadays. Do you agree? I feel that your music is moving forward into a more holistic vision. “Eos” is a magnificent example of that, the same as Messe I.X-VI.X is, both are distant from modern popular music.

- I listened to your record of Messe I.X-VI.X with Tromsø Chamber Orchestra, and then I attended your concert at Teatro Regio (Parma). Even though the recorded version is high quality, a live show is a different «experience». It is like watching a video of a feast instead of being there physically. I find the opposite in many bands. Their studio records are better than their live. A possible way to face the crisis of modern popular music - caused by internet - can be relying on live performance. From my point of view, this is not completely negative, anyway a concert should be a unique aesthetic experience. Could it be a sort of natural selection for better music?

Licia Battarra

- I was very impressed by the visual effects of Messe I.X-VI.X at Teatro Regio. For you, which is the connection between music and visual arts?