Now, Adam Zaars (guitarist) at the helm in the guitar department with longtime friend Joseph Tholl along with Johannes Andersson (vocals, bassist), and Oscar Leander (drums). And they continue to ascend the helix of stardom as one of the original bands in the genre. What stood out the most in the new EP “Hamartia”, is the quality of the songwriting, and not even the departure of Jonathan Hultén could take the catchiness nor the sonic identity out of their music. The excitement immediately rushes through your soul as the opening track “Hamartia” begins with explosive guitar work, driven by a powerful percussive groove and Johannes Andersson’s wicked snarls providing a morbid mood, to the dual guitars you know exactly what you’re getting from these Swedish lads.

Despite the song bearing resemblance to their preceding album “Where the Gloom Becomes Sound”, the beautiful melodies capture the dark emotions that are delicately laced in the composition.The second track “Axis Mundi” is a prime example of Tribulation’s musical intelligence and creativity that is improvised by the 70s rock vibe beats and guitarist Josep Tholl’s scorching solos immediately caught you off guard by the creative methods of fusing plenty of exhilarating riffs, leads, and solos.

Tribulation masterfully combines the dark elements that have long defined the band’s gothic inclinations. And perhaps the track “Hemoclysm” presents the band’s originality and creativity in a rather unique and refreshing way that has never been uncovered before. The atmosphere becomes steeped in the cold dreary aura of the sublime gothic choral soundscape ebbing and flowing and the uncanny mood sweeps as the quirky guitar effect provides a backdrop to the menacing growls. There are so many enthralling elements, from the electrifying guitar work that builds into a strong sensation to the chorus of this superb track that is the dramatic climax that gives it a very gothic haunting feel and paints a gloomy picturesque in your imagination.

The percussion is just amazing and holds the cadence of the song’s rhythm and the guitars being the backbone of the music, Tribulation explores new musical grounds. The riffs are splendidly crafted and there are moments when the pacing burst into vitality and becomes apparent as the ominous atmosphere shifts like the somber clouds that are honed by creativity. The organs beautifully echo through the thudding bass guitar, but somehow it gives a dark feeling. Tribulation’s gothic style seems to pass into an artistic phase of innovation with every new studio recording, and therefore “Hamartia” is a stepping stone and a great achievement for the band.

The final track “Vengeance” (The Pact) is a cover song from Blue Öyster Cult, but I would say that the band has taken a gamble with this track in particular. The cover song has an old-fashioned sound that bridges proggy keyboards with the elements of classic rock music that has a fair amount of 60s vibe, and the booming bass guitar works in tandem with the riffs. But Tribulation has cunningly mastered the art of mixing up the genres to fit their sonic identity, therefore showcasing a more diverse style.

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