Tears from the Grave

I was not the biggest fan of Mortalicum's last record The Endtime Prophecy, competent doom metal with some appreciable swagger but vocals that I was just not that enamored of. So there was some hesitation on my part to even listen through Tears from the Grave, the group's third album through Metal on Metal Records. But I'm glad I did, because this is an improvement over its predecessor in many ways, with Henrik Högl really starting to gel into both his roles and singer and guitarist. To be up front, this is classic doom with a lot of groove and 70s Sabbath inspiration, a Swedish analog to our own American Trouble, but with a different approach to the vocals that eschews the grating, tormented, formidable presence of Eric Wagner for something a lot smoother and I'd dare say even redolent of Bruce Dickinson on his solo albums like The Chemical Wedding or Accident at Birth...at least how he hovers a deceptively fragile timbre into something more significantly powerful. He picks the right notes this time.

Structurally they shift between boogie-down, bellbottoms-in-the-graveyard rockers like "The Endless Sacrifice" and "Spirits of the Dead" to a moodier, near-Candlemass Gothic crushing step present in tunes such as "Remember the Fallen" or "The Illusion", to some stuff which is even more melodious, and psych rock in scope, like the shining guitars and fat bongwater bass tones of "I Am Sin" which break out into those potent emotional heavy hooks which burrow straight into your memory and won't quickly let go. That's not to say the content here is necessarily original, there are quite a lot of bands who have come before and laid bare the blueprints, even some of Mortalicum's countrymen like Grand Magus, Count Raven and so forth. But the trio seems to take all of this into account, blend it up and settle back to produce songs of value as opposed to monotonous retro worship, and they do so with a sincerity that seems like it would be equally presentable in a live format without losing any of the hook quality. Högl's pitch is still far from extraordinary, it's still got that wavering, almost nasally factor, but here it just works so well with the riffing choices that its thinner nature provides for a competent contrast against the fatter, bluesy rhythm guitar.

The rhythm section is equally fit, with constantly engaging bass grooves and a nice, organic sound to the drums where the snare and cymbals have a lot of impact and it keeps your hips shaking. The darker mutes on the rhythm guitars (as in "The Passage") sound fucking awesome, and as songwriters, the Swedes keep things constantly evolving without settling too often into the same repetitive riffs. Although its lyrical subjects are presented with gravitas aplomb, and no laughing matter whatsoever, this selection of songs is surprisingly fun in execution, just as easy to get down with as to mourn over some open space in the earth in which a loved one has been interred. It's not perfect, but great production and good songs go a long way for me. Mortalicum has proven in this reviewer's estimation to be one of the 'most improved' acts here in 2014, and fans of anything from Lord Vicar and Solitude Aeternus to Burning Saviors and Spiritual Beggars will devour this.

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Some argue there is a total lack of good metal being put out and refuse to listen to anything beyond their frame of reference as to when "good metal" ended. They're undeniably wrong. How many people can you think of that refuse to listen to anything beyond 198? Luckily for me, Mortalicum, for their past two albums have been a beacon of quality in a now-saturated market of Doom Metal and Traditional Doom. While many bands barely manage a single good song on with a release, Mortalicum have been able to put out entire albums of powerful Doom and Heavy Metal without flinching. Their new album is no different. Tears From The Grave picks up at the same spot where The Endtime Prophecy left off. What is noticeable about Tears From The Grave is how Mortalicum have slowed down yet again. Much like the drop in speed between Progress Of Doom and The Endtime Prophecy, yet again the material slows down just a tad bit more. While there are a couple of faster tracks, for the majority of this albums run-time, we're moving at the speed of snail. It's not a problem though, in combination with the turndown in speed, there is a decisive jamminess and garage-rock feel to these songs. Songs like the title track move through long sessions of solos and instrumental parts like a garage band rehearsing riffs to find the perfect take. Opening the album we get a big ole "Yeah!" from guitarist / vocalist Henrik Högl.

I would put it like this: if The Endtime Prophecy were Pentagram, then Tears From The Grave would be Day of Reckoning. It's a different vibe, a more relaxed feel in sound and production. Perhaps Patrick Backlund's very noticeable bass on this record draws out that smoothness and fluidity. The clarity is excellent and the production and mixing are superbly done but Henrik's vocals can at times be pushed too far back in the mix and taking the backseat, especially in songs like "Spirits Of The Dead" and "The Passage." Even so, with the great separation between instruments, it's astounding how 'together' Mortalicum sound on this release. They fill in the record really well and something as minor and unnoticeable for most listeners won't affect the overall effect this album should have. Andreas Häggström's drums are very natural sounding, with little done their overall timbre. The kick drum is particularly massive and the cymbals are bright. The clarity is very noticeable during moments of harmony and leads. Each note can be the focus of attention.

Highlights for me are very definite, as they had been on Mortalicum's previous two albums. "The Endless Sacrifice" is a top-quality starter with a huge memorable intro riff and resounding chorus. It's very similar as a starter on this album as "Guiding Star" was on Progress of Doom - starting us off very doomy and primes the album. "I Dream Of Dying," other than being another of those-cult-classic in the making tracks, shows Mortalicum sweeping through one of the grandest instrumental sections of their catalog yet. Both screaming leads, solos and a mellowed out Sabbathesque transitional section akin to the middle of "Damnation of the Soul" off Progress of Doom are expertly paired together like a fine wine and entrée. "I Am Sin" is also a huge track, though once again mid-tempo, moments impress a sense of urgency and energy. The verse riffs end with bluesy guitar runs. Sweeping choruses once again appear here also. In addition, the lyrics across the album are generally well written as well and worth some time. "The Passage"'s are particularly of interest to me, as we've all contemplated our own demise and the life beyond. The subject matter in the other songs is also similar but each song focuses on something a little different, the angles and perspectives shedding different light on death, dying, being dead, laying in coffins and other funerary interests. It's standard fare, yes. But it's done really well and with heart.

This is a strong album. Tears From The Grave is confident in itself and it's contents. While there are comparisons that can be made, it really doesn't need them to be enjoyable, or described and I'd expect less name-dropping of similar bands and groups from reviewers that take the time to listen deeply to this album. While The Endtime Prophecy may be a slightly better album overall, with Tears From The Grave, Mortalicum have honed their sound ever-so-slightly without losing ground with their penchant for excellently composed songs and memorable moments. It's easy to feel the weight of Mortalicum here both through the instrumental material as well as the subject matter. You can get the feeling that these are three guys from a down out in bumblefuck Sweden that live dark and morose lives but In reality, this is a band of three genuinely nice guys that can really pump out some quality heavy doom that is dark, thoughtful and engaging.

Originally written for Contaminated Tones.

Okay, so what do you get when you take one part Sir Lord Baltimore, one part classic Black Sabbath and mix it with a combination of Trouble and Robin Trower...maybe throw in a touch of Mahogany Rush? Yeah, I know, right? What you get is Mortalicum, some of the best heavy/doom metal/hard rock I've heard since the long forgotten days of the 70s. Another reminder of the good old days is the fact that this is a power trio...although they did not start that way. Formed in 2006, this (as of 2013) trio of Swedes has released their third full length album, Tears from the Grave. These guys rely on good old fashioned proto-metal and hard rock riffs that just slay. The result is one of the finest albums of the genre.

One thing about this band is their use of heavy blues infested proto-metal riffs mixed with some damn fine guitar solos. This is considered doom in some respects due to those heavy riffs but that's only partially accurate because there are many more dimensions to this band. Coming right out of the gate is "The Endless Sacrifice" is a mid paced song which just slays from beginning to end with crushing riffs and massive solos. The vocals are in a mid range and not too flashy but compliment the song perfectly. "I Dream of Dying" slows it down a bit with some massive doom riffs that are heavy as fuck but do not take away that proto-metal sound. On this one, the band relies on more of a bluesy doom sound and the solos are just oozing with wah-wah effects while having so much soul and feeling. The middle of the song has this part that is a Robin Trower type bluesy solos with just bass and soft drums mixed in. If this doesn't have you breaking out your bong, I don't know what will! Seriously, this is just classy old school metal that doesn't sound dated but is a modern take on the music I grew up on.

The rest of the album is just as monstrous as those first two songs. The riffs don't stop coming and the melodies are just infectious. They mix it up a bit as a few of the songs are shorter numbers that just blast you and then they have epic monsters that are eight, nine, and even eleven minutes long. The title track is the elven minute track that is just epic and bluesy. I'm not a huge fan of long doom songs but since these guys don't just rely on doom riffs alone, this song has a lot going on and keeps your interest. The vocal melodies and the choruses are catchy and add to the dimensions of this album. Once again those solos make the songs. They combine that old school hard rock solo with modern metal elements thrown in to keep this from sounding dated or that they are trying too hard to be "retro." This isn't retro because they write songs that let you know that they feel this music, not just play it because it's cool to be retro. Songs like "I Am Sin" is the perfect example of music you can feel. Clocking in and eight minutes this epic monster rates high on the goose bump scale with it's killer Sabbath inspired riffs and epic melodies. This is doom at it's finest.

The shorter songs just crush you before you even know what the fuck hit you. Songs like "Spirits of the Dead" and "The Passage" are mid tempo songs that rely on those pounding riffs. The former has some Sabbath inspired riffs and then just under a minute in they throw in some fuckin' cowbell! Okay, I just flashed back to my teens for a second...MORE COWBELL!! Anyway, these songs are just more examples of this band's ability to write songs that take you away and make you remember everything you ever loved about metal music. This type of music can only work if the songwriting is top notch and this band can write songs and they can execute them with precision and class. Their influences are obvious but they have the ability to put their own identity to these songs. You may think of Sabbath or Trouble when you hear some of these songs but you never forget that these are Mortalicum songs.

I'm not the biggest doom fan in the world and it seems I'm more inclined towards the epic and classic doom. This band is the doom metal I love, if indeed they can be pigeonholed into one certain genre and, to me, they can't. If you like your doom with a touch of proto-metal and 70s rock then this is the album for you. And if you are an old fart, like me, this will suit you even better. Actually, if you enjoy metal at all, this album is essential.


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