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My vacation was about to start and the pile of things to do before I could leave just kept growing bigger. I needed a soundtrack to energize me, to boost me forward, to bring out the edginess of the moment. Tribulation’s The Horror was simply the next promo on the list. I am not sure how I would enjoy the album at any other time, but in that particular instant it hit the spot.
Tribulation come from Sweden and they seem to have been around for a while, at least judging from the number of demos they put out. However, The Horror is their first long-player, an earlier label output limited to just one EP. Ignoring trends, which get you signed to bigger labels and played on radio broadcasts, Tribulation is focused on thrash metal of its own ilk. Fast revivalist kind, their material on The Horror is very edgy, played faster than “normal” Swedish death, and just below the senseless speed level of Panzer Division Marduk. Locked in step with constant pre-blast drums, there is quite a bit of power and lower level frequency in their riffs, as opposed to thinner buzzsaw razor sharp sound popularized by many other Swedish bands. For example, bass plucks are absolutely essential to the death march of Crypt of Thanatophilia. Tore Stjerna’s (Watain) production gives this strapping music some oomph, adding a strong punch to these songs intended as body blows. Not to make it sound all fast and mono-dimensional, the band demonstrates great in-song dynamics oscillating between the rhythms in true Dismember fashion on Curse of Resurrection. Another great find is Morbid Angel-like, searching, Covenant-era little leads, which liven up The Horror, adjoining a more sinister edge to band’s brutality, just before it submerges into another frenzied thrash dive.
The shreds of melody are also present on The Horror, guitar chops almost harmonizing with the lead on Beyond the Horror, or Johannes Anderson trying to fit his mid-range growl to accommodate the melody on Spawn of the Jackal. His vocals otherwise are a little back in the mix, somewhat of an afterthought in the band’s delivery. The atmosphere of the B-horror movies is additionally achieved via some spooky spoken intros, little keyboards and samples plunging Beyond the Horror to catacomb depth.
The release which, perhaps, won’t be heard by many, The Horror does not go by way of modern chugging thrash and melodeath, instead veering a lot closer to the death/black interface, sacrificing a lot of production for aggressive attitude. Nevertheless, there is a lot of purpose here, and thus my hat is off.
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