Back Themes from William Blake's The Marriage of Heaven and Hell Danish Themes from William Blake’s The Marriage of Heaven and Hell German Themes from William Blake's The Marriage of Heaven and Hell Spanish Themes From William Blake's The Marriage of Heaven and Hell French Themes from William Blake's The Marriage of Heaven and Hell Croatian Themes from William Blake’s The Marriage of Heaven and Hell Hungarian Themes from William Blake's The Marriage of Heaven and Hell Italian Themes from William Blake's The Marriage of Heaven and Hell Korean Themes From William Blake’s The Marriage of Heaven and Hell NB Themes from William Blake’s The Marriage of Heaven and Hell Polish
| Themes from William Blake's The Marriage of Heaven and Hell | ||||
|---|---|---|---|---|
 Slipcase cover | ||||
| Studio album by | ||||
| Released | 17 December 1998 | |||
| Recorded | 1997–1998 | |||
| Studio | Beep Jam Studio | |||
| Genre | ||||
| Length | 101:09 | |||
| Label | Jester | |||
| Ulver chronology | ||||
| ||||
| Ulver studio album chronology | ||||
| ||||
| 2012 physical reissue | ||||
 | ||||
| 2021 physical reissue | ||||
 | ||||
Themes from William Blake's The Marriage of Heaven and Hell is the fourth studio album by Norwegian experimental electronica band Ulver. Produced with Kristoffer Rygg, together with Knut Magne Valle and Tore Ylwizaker, it was issued on 17 December 1998 via Jester Records. It is a musical adaptation of William Blake's poem The Marriage of Heaven and Hell. The album blends electronics, industrial music elements, progressive metal, avant-garde rock and ambient passages, following Blake's plates as track indexes. Stine Grytøyr, Ihsahn, Samoth and Fenriz all feature as guest vocalists.
The album received widespread acclaim from critics within the rock, metal and alternative music press, being awarded Album of the Month in several high-profile magazines such as Terrorizer, Metal Hammer, and Rock Hard and ranked very highly in their end of year's best polls. However, the band's new electronic sound alienated many fans of their first three albums, causing a backlash from the black metal scene.[1]