7th April 2023

Review: “Hamartia” by Tribulation

“Hamartia is a Greek word, from the Hellenistic times, so it’s from the language the early Bibles were written in, Literally it means ‘to miss the mark’, but in the New Testament and in the Greek translation of the Old Testament, it means ‘sin’. It doesn’t only mean ‘sin’… and that’s how my curiosity was aroused. The lyrics of the song Hamartia are based on various interpretations of the word and various changes that the word ‘sin’ has undergone. In the Old Testament, the earliest text, it doesn’t necessarily mean the same as it did to people writing the New Testament over a millennium later. The lyrics to the song revolve around that.” ~ Adam Zaars, Guitars

After a pair of widely praised albums and one which showed some evolution in their sound, Swedish Death Metal collective Tribulation could have easily called time on their careers with their heads held high at the departure of guitarist Jonathan Hultén. However those who specialise in a Blackened Death ‘n Roll sound are not easily beaten and so in steps Joseph Tholl to rejuvenate the song writing and share the burden with Adam Zaars. Recorded in Stockholm with Robert Pehrsson at Studio Humbucker as well as Linus Björklund (Lucifer, The Dahmers, Verminous) at Studio Ryssviken, before being crafted in mix by Tom Dalgety (The Cult, Clutch, Creeper), the band are out to prove that this latest offering “Hamartia” is more than simply a stop gap between albums. To be fair the last release from Tribulation was last year’s stand-alone (and Jonathan Hultén-penned) “The Dhampir“, an epic 18-minute single split in three chapters which was recorded in the sessions for preceding album “Where The Gloom Becomes Sound“.

This fresh start begins with “Hamartia“, offering something shorter, sharper and more venous with surprisingly vibrant lead guitars contrasting the throat shredding vocals of vocalist and bassist Johannes Andersson, a master in disguise. Eccletic and perhaps eccentric it floats in a psychedelic bubble of hypnotic and hallucinogenic qualities, a waking nightmare of melody wrapped in violence. Continuing that verve and swagger laden approach “Axis Mundi” takes things to the next level with a creepier side that rests upon the knife edge between being able to claw back from the unhinged and falling into the abyss of insanity that awaits. A Horror Metal fueled tale with sinister undertones and foreboding moments, it finds the band in the element. The pitch-black witch-doom of “Hemoclysm” offers a further mind bending narrative with some 1970s Progressive Rock feel in the guitar work as it paints a picture in fresh blood befitting of a resurrection in Stranger Things. The ghostly whispers build atmosphere before moments of ethereal worship creep up behind it and raise the hairs on the back of the neck. This isn’t a gore fest but instead a psychological melodrama that twists the knife violently at the least expected moment. A cover of the Blue Öyster Cult classic “Vengeance (The Path)” is an interesting choice as it is perfectly in keeping with the cuts that came before it, producer Robert Pehrsson lending his throat for some backing vocals while Johannes Andersson does something rare and gives some clean moments himself. The eerie yet catchy melody has the perfect time to continue the edge of the record with that off kilter creepy vibe playing out nicely. All in all a record that sets the tone for what the future of the band might be as they follow the yellow brick road from Swedish Death Metal to more Avant-Garde territory [7.5/10]

Track Listing