Review by Fernando on April 26, 2021.

The last decade brought a lot of changes to black metal. One major trend that spawned off the polarizing “blackgaze” style is bands embracing a more punk direction, or going into more atmospheric routes. However, today we have an interesting case with the Swedish band Dödsrit, who are releasing their third album Mortal Coil through Wolves Of Hades Records. While a relative new name, the band has steadily been making themselves known. Starting out as a solo project, the first two records released displayed a unique blend of blackened crust punk with atmospheric black metal, and with their 2018 sophomore they really caught a lot of people’s attention. Three years later in 2021 for album #3, the band have seemingly taken a different direction while refining their now signature tendencies.

In terms of music Mortal Coil is much more melodic than the previous two records and with a melancholic tinge and epic atmosphere in some areas reminiscent of Dissection and Immortal. For example, in the first two tracks (particularly the second track 'Shallow Graves') music heavily features guitar driven riffs that are equally sorrowful and have a grand scope, with fast and aggressive blast beats and double bass drumming, and harsh and dry screeching vocals, all of which is accomplished through the performance of the band as a quartet. Unlike the first two records which were done solo style by band founder Christoffer Öster, he has now assembled a new lineup, and the difference is noticeable from the get go and in the deeper cuts. That being said, Mortal Coil is noticeably more “blackened” than the band’s previous work, and in some places it worked out for the better. For example the title track with its face-melting solo, the punk influence hasn’t been discarded or superseded by the more “atmo-black” style and it starts out like a pure black metal epic where after the already mentioned guitar solo it goes full blackened D-beat for the rest of the track and it seamlessly keeps the more blackened guitarwork, which is impressive in it of itself. That same blending of black metal and punk applies for the closing track 'Apathetic Tongues'.

With all that said, while Dödsrit switching from a solo project to a full band had a significant change with excellent results, that change of direction also caused something of a tradeoff in the band’s style. If you play the band’s discography the change in sound and style of their first two records and this one is extremely noticeable, as the more blackened direction and presence of a full lineup somewhat took away the band’s uniqueness. Make no mistake though, this is still an excellent record and the new direction breathed new life into the band, and like I said, none of the familiarity is completely gone, but it’s very clear Dödsrit in 2021 is a much different entity than what it was in 2018 and 2017.

Overall Dödsrit were successful in their sonic change of direction, even if some of its more unique elements were minimized. Mortal Coil as a whole is a worthy follow-up for this band as they enter a new chapter in their musical journey.

Best tracks: 'Shallow Graves', 'Mortal Coil'

Rating: 8.3 out of 10

Review by Fernando on April 26, 2021.

The last decade brought a lot of changes to black metal. One major trend that spawned off the polarizing “blackgaze” style is bands embracing a more punk direction, or going into more atmospheric routes. However, today we have an interesting case with the Swedish band Dödsrit, who are releasing their third album Mortal Coil through Wolves Of Hades Records. While a relative new name, the band has steadily been making themselves known. Starting out as a solo project, the first two records released displayed a unique blend of blackened crust punk with atmospheric black metal, and with their 2018 sophomore they really caught a lot of people’s attention. Three years later in 2021 for album #3, the band have seemingly taken a different direction while refining their now signature tendencies.

In terms of music Mortal Coil is much more melodic than the previous two records and with a melancholic tinge and epic atmosphere in some areas reminiscent of Dissection and Immortal. For example, in the first two tracks (particularly the second track 'Shallow Graves') music heavily features guitar driven riffs that are equally sorrowful and have a grand scope, with fast and aggressive blast beats and double bass drumming, and harsh and dry screeching vocals, all of which is accomplished through the performance of the band as a quartet. Unlike the first two records which were done solo style by band founder Christoffer Öster, he has now assembled a new lineup, and the difference is noticeable from the get go and in the deeper cuts. That being said, Mortal Coil is noticeably more “blackened” than the band’s previous work, and in some places it worked out for the better. For example the title track with its face-melting solo, the punk influence hasn’t been discarded or superseded by the more “atmo-black” style and it starts out like a pure black metal epic where after the already mentioned guitar solo it goes full blackened D-beat for the rest of the track and it seamlessly keeps the more blackened guitarwork, which is impressive in it of itself. That same blending of black metal and punk applies for the closing track 'Apathetic Tongues'.

With all that said, while Dödsrit switching from a solo project to a full band had a significant change with excellent results, that change of direction also caused something of a tradeoff in the band’s style. If you play the band’s discography the change in sound and style of their first two records and this one is extremely noticeable, as the more blackened direction and presence of a full lineup somewhat took away the band’s uniqueness. Make no mistake though, this is still an excellent record and the new direction breathed new life into the band, and like I said, none of the familiarity is completely gone, but it’s very clear Dödsrit in 2021 is a much different entity than what it was in 2018 and 2017.

Overall Dödsrit were successful in their sonic change of direction, even if some of its more unique elements were minimized. Mortal Coil as a whole is a worthy follow-up for this band as they enter a new chapter in their musical journey.

Best tracks: 'Shallow Graves', 'Mortal Coil'

Rating: 8.3 out of 10

Review by Michael on October 20, 2024.

If your favorite Tribulation albums are The Horror and The Formulas Of Death you can calmly skip this review but the early fans have probably already turned their back on the Swedish guys because what they started on The Children Of The Night has evolved more and more into some highly melodic, dramatic, and less and lesser metal-style approach to set the darkness into music and find it actual pinnacle on Sub Rosa In Aeternum. 

Their last full-length Where The Gloom Becomes Sound already had a very dark, gothic, and sometimes more dark rock music vibe and here they dared to take another step forward to that terrain. First of all Johannes Anderssons´vocals have changed significantly in a lot of the songs. He sings in a very deep vocal line that sometimes reminds me of pioneers in the dark rock/dark wave scene The Sisters Of Mercy, The Garden Of Delight, or later Moonspell. Because the music is very calm, warm, and melodic these vocals match very well to all this. With this stylistic change, the band gives their songs a certain feel that makes the songs super accessible and sort of catchy. Not that they really are but superficially they appear so. If you dive deeper into them, you will recognize so many little things that you don't hear at first listening. As examples of that stylistic turnaround, you might check 'Murder In Red' (which evokes some kind of Alice In Wonderland feeling with keyboard lines) or 'Hungry Waters'. But sometimes the Swedes still let their roots shine through. 'Time & The Vivid Ore' is a typical dark rock song that also could have been on their latest albums since 2015. The vocals are pretty raspy and harsh and this one is very similar to the sound structure of 'The Wilderness' from Where The Gloom Becomes Sound where they worshipped Nick Cave. It is much heavier than a lot of the other tracks and this I would call the most logical step forward if they weren't so keen to go beyond their borders. A propos Nick Cave – if you like him you will probably like 'Reaping Song'. This one is really super epic with fantastic keyboards and a very surprising vocal performance. 

Another interesting thing is that Tribulation (and I already stated that on their last album) sound quite a lot like Ghost. 'Reaping Song' – the keyboards? The background chorus?? Do we have listened too often to “Infestissumam”? The same goes for 'Tainted Skies' and some riffs in other songs. Not that I want to criticize that, I am in fact quite pleased about that. And it isn't any Ghost-rip off in any way, so all fine, it just should be a little marginal note.  

But the dark rock direction is clearly in the foreground on Sub Rosa In Aeternum. 'I Takt Med Otiden' makes clear where the way will lead, hopefully. A fast rock song with a lot of Heroes Del Silencio-like guitars and cool Swedish lyrics. That's a really good one to close the album! The blackish outbursts are kept slightly minimal the whole time but I guess that not too many people would have expected going back to the roots in any way. At least for me the album is really fine to calm down and enjoy the autumn, become a little bit melancholic, and long for the darkness. 

Rating: 9 out of 10

Review by Michael on October 20, 2024.

If your favorite Tribulation albums are The Horror and The Formulas Of Death you can calmly skip this review but the early fans have probably already turned their back on the Swedish guys because what they started on The Children Of The Night has evolved more and more into some highly melodic, dramatic, and less and lesser metal-style approach to set the darkness into music and find it actual pinnacle on Sub Rosa In Aeternum. 

Their last full-length Where The Gloom Becomes Sound already had a very dark, gothic, and sometimes more dark rock music vibe and here they dared to take another step forward to that terrain. First of all Johannes Anderssons´vocals have changed significantly in a lot of the songs. He sings in a very deep vocal line that sometimes reminds me of pioneers in the dark rock/dark wave scene The Sisters Of Mercy, The Garden Of Delight, or later Moonspell. Because the music is very calm, warm, and melodic these vocals match very well to all this. With this stylistic change, the band gives their songs a certain feel that makes the songs super accessible and sort of catchy. Not that they really are but superficially they appear so. If you dive deeper into them, you will recognize so many little things that you don't hear at first listening. As examples of that stylistic turnaround, you might check 'Murder In Red' (which evokes some kind of Alice In Wonderland feeling with keyboard lines) or 'Hungry Waters'. But sometimes the Swedes still let their roots shine through. 'Time & The Vivid Ore' is a typical dark rock song that also could have been on their latest albums since 2015. The vocals are pretty raspy and harsh and this one is very similar to the sound structure of 'The Wilderness' from Where The Gloom Becomes Sound where they worshipped Nick Cave. It is much heavier than a lot of the other tracks and this I would call the most logical step forward if they weren't so keen to go beyond their borders. A propos Nick Cave – if you like him you will probably like 'Reaping Song'. This one is really super epic with fantastic keyboards and a very surprising vocal performance. 

Another interesting thing is that Tribulation (and I already stated that on their last album) sound quite a lot like Ghost. 'Reaping Song' – the keyboards? The background chorus?? Do we have listened too often to “Infestissumam”? The same goes for 'Tainted Skies' and some riffs in other songs. Not that I want to criticize that, I am in fact quite pleased about that. And it isn't any Ghost-rip off in any way, so all fine, it just should be a little marginal note.  

But the dark rock direction is clearly in the foreground on Sub Rosa In Aeternum. 'I Takt Med Otiden' makes clear where the way will lead, hopefully. A fast rock song with a lot of Heroes Del Silencio-like guitars and cool Swedish lyrics. That's a really good one to close the album! The blackish outbursts are kept slightly minimal the whole time but I guess that not too many people would have expected going back to the roots in any way. At least for me the album is really fine to calm down and enjoy the autumn, become a little bit melancholic, and long for the darkness. 

Rating: 9 out of 10