Tribulation- The Children Of The Night

Rating: 4.5/5
Distributor/label: Century Media Records
Released: 2015
Buy Album [URL]: https://www.cmdistro.de/Artist/Tribulation/1767
Band Website: http://www.tribulation.se/

Band Line-uptribulation cover

Johannes Andersson – Bass, Vocals
Adam Zaars – Guitars
Jonathan Hultén – Guitars
Jakob Ljungberg – Drums

Tracklisting

01. Strange Gateways Beckon
02. Melancholia
03. In The Dreams Of The Dead
04. Winds
05. Själaflykt
06. The Motherhood Of God
07. Strains Of Horror
08. Holy Libations
09. Cauda Pavonis
10. Music From The Other

Review

Bold and proud, “The Children Of The Night” is a rather Dio-esque title, or is it a nocturnal nod to Dracula- “Ah, listen to them, the children of the night..”? Examine Tribulation’s influences however, and it’s likely that the title is more of a testament to a Kiss influence- *cough* Creatures Of The Night, anyone? Regardless of references, this is the third LP for these Swedes, and their debut on German label Century Media, which sees them expand upon yet reverse some of the changes we heard on lengthy sophomore album, The Formulas Of Death.

Given the horrible, cliched potentials for adding a vampire/Nosfreatu aesthetic to rock music, it’s amazing how impressive the video for “Strange Gateways Beckon” managed to be, with its dramatic smoke and burned out black and white effects. Fortunately the song itself follows suit, kicking this ten tracker off with the contrast of soothing chords, melancholic organ with the straight-from-the-dead vocal style of Johannes Anderson.

Employing a neo-gothic feel, this record could see Tribulation gaining a new audience, defying boundaries in a way that made Celtic Frost so legendary. It reaches out to the kind of organic, dark rock tones of In Solitude’s Sister and even fellow Swedes Ghost BC. “Melancholia” is hard hitting with flange-soaked six-string riffs that are as catchy as this band’s death metal roots will allow- for now.

“Winds” shows more psychedelic influence, with an occult, necromantic charm still maintained as the fire and soul through these songs. The use of silence and pauses are as spirited as the kind of suspense filled plot twists found in a late 60s Hammer Horror film, before crash cymbals crash above rolling tom drums, with “buzzsaw-lite” guitar riffs blended over the top. With all its grandeur and majesty, it’s a wonder why “Holy Libations” wasn’t the album’s closer, but as the real end comes just shy of the hour mark, “Music From the Other” gives an operatic crescendo that left me feeling the need to applaud out loud.

Review by Jarod Lawley

 

Share
Copyright © The Independent Voice 2018