Stockholm-based Tribulation once again aspire to greater heights and stranger things on their new album, Sub Rosa in Æternum. Whereas the prior album was cast in Italian marble under a wolf moon, this time, Tribulation conjure new beasts: Part psychological horror of Italian cinema, part gaunt British goth, and part Art Deco opulence, Sub Rosa in Æternum is a blazing torch upon a cloudy, skeleton sky. Of course, no Tribulation album is complete without oblique references to fangs, blood, women, and Roman Empire-like decadence: Tholl’s fascination with water and oceans come through in “Hungry Waters”, as does Zaars’ infatuation with religion, cults, and mystery on “Saturn Coming Down”. Andersson gets in on the action by paraphrasing American poet Emily Dickinson and citing both book/film The Name of the Rose by Umberto Eco/Jean-Jacques Annaud, respectively “Poison Pages”; there is mystery to “Murder in Red”. Tribulation entered Ingrid Studios (Ghost, Viagra Boys) in Stockholm with engineer Ola Ersfjord (Lucifer, Primordial) and British producer Tom Dalgety (Siouxsie Sioux, Ghost), and the group put Sub Rosa In Æternum to proverbial tape. The sound that developed during the writing and pre-production phases was given a nastier attack (“Tainted Sky,” “Time & the Vivid Ore”), more significant storytelling lift (“Reaping Song,” “Poison Pages”), and creepier gothic tones (“Hungry Waters,” “Drink the Love of God”). With mastering ace Magnus Lindberg (The Hellacopters, Dool) returning to the fold, he guaranteed Tribulation a natural, almost bright boost to close the chapter on their sixth album. As Tribulation near the bloodletting and luxuriant goth phase with Sub Rosa In Æternum, the Swedes also commemorate their 20th anniversary, and they’re bravely winging into their most inspired era yet.
