If someone can lead a master class how to get from black metal to experimental music without becoming ridiculous in the process, it's Ulver. The band, who once narrated Norwegian tales of trolls who lies pepole, over the years has undergone a remarkable transformation and infiltrated so many genres that it is difficult to list. The Assasination Of Julius Caesar is another bold leap in the wolf catalog, which makes them one of the most interesting contemporary bands. The 11th Norwegian album is an unexpected wave of synthpop, perfectly composed and performed. The shocking thing here is that the tracks are so natural and polished, as if the band played only that during their 24-year history. Throughout the 44 minutes of the famous murder, sounds and atmospheres that have passed, the non-existent songs of Tears For Fears and Depeche Mode echo in a peculiar pantheon of the accessible, loved and irresistibly attractive syntactic sounds of the Golden Age of the genre. All of this is backed up by intriguing texts with a philosophical inclination that are as concrete and abstract as possible. The latter, apart from recapitulation of the words of Beda Deustenata, is part of the most gothic piece in the album, contrary to the subsequent, but much more danced Southern Gothic. In general, lyrics are an intellectual gourmet, which is very rarely presented in a harmonious and caressing melodic tray. This is also part of the album's splendor - it has everything: conceptual integrity, depth, perfect composing and production, the charm of surprise and a whole mountain of nostalgia. An album that, although located within a certain stage of modern aesthetics, is so good that it becomes an instant classic. And if So Falls The World does not sound the next Bond movie, shame for him.