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RETROMORPHOSIS Resurrects Death Metal with Psalmus Mortis – A Haunting and Technical Triumph – Album Review

RETROMORPHOSIS Resurrects Death Metal with Psalmus Mortis – A Haunting and Technical Triumph – Album Review


RETROMORPHOSIS - Psalmus Mortis album cover.Even in the lawless wasteland of death metal, some exceptions prove the rule. Retromorphosis, a band born from the legendary Spawn of Possession, is one such exception. Their debut album, Psalmus Mortis, is proof that you can’t bury what was never truly dead.

Spawn of Possession’s legacy looms large in modern technical death metal. The Swedish outfit pushed the genre’s limits, leaving behind a discography that still feels ahead of its time. Now, over a decade after their dissolution, Retromorphosis rises from the crypt. Psalmus Mortis isn’t just a return—it’s a resurrection.

From the opening notes of Psalmus Mortis, it’s clear that Retromorphosis isn’t simply reliving past glories. While traces of Spawn of Possession’s DNA are evident, this album treads new ground, fusing its technical precision with an eerie, old-school death metal atmosphere.

The album’s instrumental opener, “Obscure Exordium”, sets the stage with ghostly organ tones and tension-building strings—an immediate indication that Psalmus Mortis isn’t just a showcase of fretboard gymnastics. Instead, it revels in the macabre, crafting an immersive and haunting soundscape.

Lead single “Vanished” follows with a mix of groove-heavy riffs and surgical technicality. Christian Muenzner’s solos shriek like tortured spirits, while Erlend Caspersen’s bass work adds a sinister, slinking presence beneath the chaos. Dennis Röndum’s vocals are cavernous and commanding, evoking a dread-laden atmosphere that fits perfectly with the album’s themes of decay and transformation.

As the album progresses, it becomes clear that Retromorphosis is unafraid to experiment. “Aunt Christie’s Will” is a standout, weaving a sinister tale over churning, off-kilter riffage. The influence of classic horror scores is unmistakable, with eerie synth flourishes heightening the song’s unsettling narrative.

On “Never to Awake”, the band slows things down, embracing a more doomy, atmospheric approach. Reverb-soaked vocals and foreboding melodies make this one of the album’s most cinematic moments. Then comes “The Tree”, where dystopian synths meet gnarled, chugging riffs to paint a nightmarish picture of greed and corruption.

For those craving pure, unrelenting chaos, “Machine” is the album’s crowning achievement. Clocking in at over nine minutes, this monolithic track shifts through tempos with dizzying fluidity, effortlessly balancing breakneck aggression and eerie, calculated tension. It’s a testament to the band’s ability to fuse complexity with cohesion—no small feat in a genre where technical prowess often overshadows songwriting.

The album closes with “Exalted Splendour”, a blistering finale that pushes the band’s dynamic range to its limits. KC Howard’s drumming is relentless, fueling a final onslaught that leaves listeners both exhausted and exhilarated.

Psalmus Mortis is more than a reunion of seasoned musicians; it’s a statement. Retromorphosis embraces its roots while forging a new path, marrying technicality with haunting atmosphere in a way that few bands can achieve. Where Spawn of Possession strived to reach the outer limits of musical complexity, Retromorphosis balances that intricacy with raw, old-school grit.

Fans of Spawn of Possession will undoubtedly revel in Psalmus Mortis, but this album is no mere nostalgia trip. It’s a fresh chapter in death metal’s ongoing evolution—a grim, exhilarating, and utterly enthralling rebirth.


Tracklist:
1. Obscure Exordium (1:50)
2. Vanished (4:48) [WATCH]
3. Aunt Christie’s Will (5:46)
4. Never to Awake (4:34)
5. The Tree (5:24) [WATCH]
6. Retromorphosis (5:12)
7. Machine (9:05)
8. Exalted Splendour (5:30)
Full runtime: 42:11

Line-up:
Jonas Bryssling (Spawn of Possession) – Guitars
Dennis Röndum (Spawn of Possession) – Vocals
Christian Muenzner (Spawn of Possession, ex-Obscura and Necrophagist) – Guitars
Erlend Caspersen (Spawn of Possession, The Allseeing I, Abhorrent) – Bass
KC Howard (Odius Mortem, ex-Decrepit Birth) – Drums

Country: Sweden
Genre: 
Death Metal
FFO: 
Spawn of Possession, Obscura, Decrepit Birth



Source: www.antiheromagazine.com

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