New photo galleries up now: VENJENT, TRIBULATION, MONDAY NIGHT HUBBA
https://www.dnalounge.com/gallery/?utm_source=sp_ma
#dnalounge #venjent #talmientertainment #drumnbass #sanfrancisco #tribulation #untoothers #finalgasp #unreqvited #metal #gothicmetal #blackgaze #deathrock #livemusic #concert #mondaynighthubba #hubbahubbarevue #burlesque
#Tribulation
♬️ TRIBULATION at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2025/05-09.html?utm_source=sp_ma
#dnalounge #tribulation #untoothers #finalgasp #unreqvited #metal #gothicmetal #blackgaze #deathrock #livemusic #concert #sanfrancisco
♬️ TRIBULATION at DNA Lounge tonight: Fri May 9, 8pm!
https://www.dnalounge.com/calendar/2025/05-09.html?utm_source=sp_ma
#dnalounge #tribulation #untoothers #finalgasp #unreqvited #metal #gothicmetal #blackgaze #deathrock #livemusic #concert #sanfrancisco
I went to the #UntoOthers #Tribulation #FinalGasp #Unreqvited show in Portland. It was a blast. I love how weird this town is, and it was fun to see some goths and others mixing it up with metalheads. It was quite an eclectic show. That was good because 4 bands is a lot for an old dude like me and my feet were hurting by the end. Good times.
#metal #goth #rock #BlackMetal #concert #pdx
Fri, May 9th: Get ready for TRIBULATION with Unto Others on stage at DNA Lounge! Advance Tix $25!
https://www.dnalounge.com/calendar/2025/05-09.html?utm_source=sp_ma
#dnalounge #tribulation #untoothers #finalgasp #unreqvited #metal #gothicmetal #blackgaze #deathrock #livemusic #concert #sanfrancisco
Being a #Christian inevitably means discomfort in this world. #Jesus proclamation of the kingdom entailed #tribulation and the #cross bearing (John 16:31; Matt. 16:24). He offers comfort, but never says we won’t suffer. Why?Because following him means #Nonconformity with the ways of this world (Matt. 24:9). This is a missing element in much Gospel #proclamation today.
Tribulation - Jonathan Hultén at the Metaldays 2019
A week ago, we had the pleasure to see #Tribulation play in #utrecht These videos capture some of the evening's awesomeness https://www.youtube.com/watch?v=BeYGV_u1LeY&list=PLmn2ED1LqEvDnWQkBQY4AG1D8Le_LL2GM
Unto Others & Tribulation announce co-headline tour:
#UntoOthers #Tribulation #Tour #MayTour #SpringTour
Link: https://metalinsider.net/touring/unto-others-tribulation-announce-co-headline-tour
TRIBULATION Announces North American Headlining Tour, Co-headlining w/ UNTO OTHERS
Great gig at #dehelling in #utrecht with #tribulation They played some really fine, catchy tunes, spanning five albums. We could almost have danced at times… while fist pumping 😆
A quotation from Carlyle, Thomas:
«
As dark misery settles down on us, and our refuges of lies fall in pieces one after one, the hearts of men, now at last serious, will turn to refuges of truth. The eternal stars shine out again, so soon as it is dark enough.
»
Full quote, sourcing, notes:
https://wist.info/carlyle-thomas/73642/
#quote #quotes #quotation #darkness #light #stars #tribulation #troubles
I just found the 7" of the first Tribulation EP. High five to past self!
AMG’s Unsigned Band Rodeö: Siren Oath – Loveless
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
Are people really allowed to call albums Loveless still? One brave man from Poland, Bobek Bobkovski, seems determined to strike in the face of that shoegaze classic with his own downcast escapades of a far more metallic nature. Siren Oath, with a love for amp tones and a distance from happiness, seeks to explore every creative wile that Bobkovski has to offer, all of which fall in post, black, and riff-centered shapes. And unlike some solitary acts, the mastermind of Siren Oath relies on his proficiency in real instruments to construct his works. So with talent enough to fuel his passion, can Loveless make lovers of our discerning Rodeö crew? – Dolphin Whisperer
Siren Oath // Loveless [September 27th, 2024]
Dolphin Whisperer: Conjuring the big sad requires some level of earnestness in performance. And for an act like Siren Oath, a one-man project, that truthful pathos that adorns every crack of Bobek Bobkovski’s post-grunge-y, lightly accented drawl goes a long way across Loveless. Whether conjuring the reverb-heavy clean to bone-crushingly heavy depressive assault of Ghost Brigade (“Nothing to Be Afraid Of,” “Praying for Your Life,” “Gone Forever”) or the waltzing black metal lament of early Shining (“The Inside,” “The Saviour”), his rough but full mid-range croon—or scattered array of harsh vocal techniques—land fitting enough to his missions of sadness. And when the goal shifts toward aggression, like the bridge-to-breakdown tearing of “If I Leave You” or the groove/nu leaning harmonic scuttle of “Forced to Live”—complete with the bounciest drum performance of the album—Bobkovski hits a proper throaty howl that fills the stage as wide as his pleasantly crunchy guitars. In a curious decision, and I’m entirely unsure it’s intentional on Siren Oath’s part, many of the shortest run songs on Loveless, despite having choruses (and rather big ones at that), end not with a chorus reprisal at close but some other musical intensification like a breakdown or heavy modulation. On occasion though, certain tracks wade to heavy into post-genre guitar textures and lose the pace against the urgency that persists elsewhere. And closing track “Christantemum” plays as nothing but an exploration with a saxophone and shoegazing guitar waves. But these quibbles do little to detract from what is overall an enjoyable experience. 3.0/5.0
Thus Spoke: I consider myself a reasonably big fan of “sadboi” metal.12 With this tongue-in-cheek descriptor presented as a selling point of Siren Oath’s sophomore record, Loveless, with an additional promise of black metal, I was sold. But Siren Oath caught me by surprise by sounding absolutely nothing like I anticipated. That’s not (entirely) a bad thing. There is indeed many a tremolo riff and plenty of rasping snarls, tendencies towards the mellow that follow the hazy, almost folk-like scale progressions over shuffling drums that associate most strongly with atmo-black (“The Inside”). Even the ringing atmospheric sections (“Becoming,” “Saviour”) would be at home in most modern blackened albums, “post-” or not. What sticks out, however, are the pretensions to sludge, post-hardcore, and rock. Sometimes, even though confusing, it’s great nonetheless, like the angsty “wooahhs” on opener “If I Leave You,” the gaze-y moodiness of “Nothing to be Afraid of,” or the aggressive grooves laid down on “Forced to Live.” Yet, as the album progresses, it’s difficult not to feel the tonal whiplash. It begins to detract from the strength of the whole, in spite of the individual strengths of each track. There’s a lot to like, but Siren Oath needs to pick a lane, or more seamlessly integrate their many stylistic leanings, the next time around. Mixed.
Remember, the artists you support are people! And they like burgers!
Alekhine’s Gun: As the winter finally descends upon us, Siren Oath arrives to escort us into the cold. Loveless is a post-metal sadboi release, flirting with everything from shades of blackened ’80s ballads to modern rock sensibilities. Loveless doesn’t lack for ambition, with cuts like “Forced to Live” heaving serious scrape-picking riffs under harsh vocals, and “Praying for Your Life” operating under crooning delicacy. Too heavy to be classified as shoegaze, but not black enough to be called black metal in any real sense, Loveless seems to be unsure of what kind of listen it wants to be. Highlight “Nothing to be Afraid Of” shows Siren Oath at their most potent, with sole member Bobek Bobkovski layering his vocals, emulating Life on Venus atmospherics. While all of the music is passable, it seems he struggles to write in his vocal range. The heavier cuts feature harsh vocals which sound pained and strained, and many of the clean sections hear him reaching for notes and sounding at odds with the music. “If I Leave You” is a key example, with a verse that sounds curiously out of tone, only to hit a chorus that sounds well executed and ripped right from classic rock. This tonal inconsistency is Loveless’s biggest stumbling block. A more focused direction in either direction, and writing more in his vocal range will strengthen future releases. 2.5/5.0
Killjoy: N00b feeding times with Dolph were a tender bonding experience. He often tied us up, stuck funnels in our mouths, and poured in the foulest concoctions he could find.3 I thought such moments were behind me after recently escaping n00bhood, only for him to press me into Rodeö service on my very first day as a staffer. So it was that I became acquainted with Siren Oath, the solo project of Bobek Bobkovski from Poland. Compared to my prior meals, the quality has dramatically improved but the consistency has not. Loveless predominantly flip-flops between somber post-black (“The Inside,” “Gone Forever”) and depressive goth rock that reminds me a bit of the recent Tribulation album (“If I Leave You,” “Praying for Your Life”). The most aggressive track, “Forced to Live,” dips its toes into sludgy waters. There’s even some saxophone to close out the album, but after test-driving so many styles it feels less novel and more like another piece of spaghetti to throw at the wall. That said, no matter the direction, Bobkovski proves adept at setting the tone through gentle guitar picking, dynamic riffs, and a surprise guitar solo in “Becoming.” With a more focused approach to songwriting, Siren Oath has the potential to land the emotional punch it’s swinging for.4 2.5/5.0
#AlternativeRock #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2024 #BlackMetal #GhostBrigade #IndependentRelease #LifeOnVenus #Loveless #PolishMetal #PostBlackMetal #PostMetal #SelfRelease #SirenOath #Tribulation
Bald beim gutsortierten Zeitschriftenhändler: #DeafForever Nummer 62 kommt am 13.12.2024.
#Helloween #Tribulation #PaulDiAnno #TheHellacopters #NeueAusgabe #NewIssue
Amazing #GothicMetal Album by swedish band #tribulation. #SubRosaInÆternum
Tribulation – Sub Rosa in Æternum Review
By GardensTale
Tribulation has battled its share of tribulations. After an interesting decade of gradually shifting from death metal to goth metal with growls with a new drummer every couple of years, the band lost one of their primary songwriters with the departure of flamboyant guitarist Jonathan Hultén. The last album to include him, Where the Gloom Becomes Sound, was not bad, but certainly more messy and unpolished than its predecessors, and it was the first to largely halt the band’s evolution. Sub Rosa in Æternum sees the reintroduction of Joseph Tholl on guitars, who originally helped found Hazard, the thrash metal band that would become Tribulation. How has the shake-up affected the music, though?
In the face of all these changes, Tribulation has resumed its long transformation. The death metal to goth metal slider has been yanked almost entirely to the latter end with the introduction of Sisters of Mercy-style clean vocals. All brooding bass and sonorous aching, vocalist Andersson chews the scenery with appropriate abandon and does well with his newfound laryngeal freedom. Yet I am grateful he hasn’t dropped his trademark expressive growls, but instead transitions between both styles with a practiced ease. The ratio varies from all harsh (“Time & the Vivid Ore”), all clean (“Reaping Song”) to a split down the middle (“Saturn Coming Down”) and everything in between.
The instrumentation and compositional style have made a similar shift into dichotomy. On the one hand, the more metal side of the band remains firm, with inventive hooks and multi-part melodies rendered in just enough distortion to remind that this was a full-blown death metal band once upon a time. On the other hand, an injection of goth rock introduces synths like neon-lit noir streets slick with rain. While it seems obvious to use harsh vocals on the former and clean vocals on the latter, Tribulation’s ability to play against expectations make for an amount of variation and dynamism that makes the record positively fly by. “Drink the Love of God” is a quick but effective ditty that recalls Unto Others’ “Give Me to the Night.” “Tainted Skies” has an infectious chorus and I adore the excellent hold-and-charge patterns throughout “Time & the Vivid Ore.” But some of the best tracks of Sub Rosa in Æternum are the furthest from the band’s bed. “Murder in Red” is gleefully grisly in theme but its Ulver-adjacent darkwave is smooth as butter. But “Reaping Song” takes the goosebump-inducing prize with a stunning and emotional gothic tale carrying shades of Nick Cave and Dead Can Dance.
With this broad a palette, Sub Rosa in Æternum could have easily wound up a mess, but Tribulation wisely decided to pull back on the song complexity, with the majority of tracks following a more basic verse-chorus structure than the band’s previous ventures. Thanks to the great melody-craft and lean songwriting this is rarely an issue, but when the imaginativity falters, the flaws are more stark. None of the tracks are particularly weak, but the wings on “Saturn Coming Down” fail to unfurl in full, and “Hungry Waters” doesn’t hit the levels of creepy it seems to be going for. Overall, though, it’s simply a more modest record than some of Tribulation’s heyday, and while there is certainly nothing wrong with that, it also doesn’t elucidate as big a response as an album like Down Below did for me.
Sub Rosa in Æternum feels primarily like the best-case scenario of a transitional album. This term feels a little redundant given Tribulation’s tendency towards ongoing evolution, but in the wake of the impactful line-up change, it makes sense for the band to test the waters with new ideas and influences in a more stripped-down form compared to their recent work. With that in mind, it is a no less accomplished album, a successful blend of established sound and new influences that integrate into an array of playfully diverse compositions. After the minor letdown Where the Gloom Becomes Sound, it’s heartening to hear Tribulation hasn’t lost its touch.
Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Century Media Records
Websites: tribulation.se | facebook.com/TribulationSweden
Releases Worldwide: November 1st, 2024
#2024 #35 #CenturyMediaRecords #DeadCanDance #GothicMetal #Hazard #NickCave #Nov24 #Review #Reviews #SistersOfMercy #SubRosaInÆternum #SwedishMetal #Tribulation #Ulver #UntoOthers
It was released last week, but I'm giving Tribulation's album 'Sub Rosa In Æternum' a good play this morning.
I've liked most of their last few albums and this one is the same.
Photos/Review: Opeth & Tribulation deliver a memorable evening of progressive heavy metal in Los Angeles on 10/30/2024:
#Opeth #Tribulation #YouTubeTheater #LosAngles #LiveReview #LivePhotos
So, das neue Album von #Tribulation. Sub Rosa In Æternum heißt es.
Ich bin zwiegespalten. Einerseits genau der Sound, den ich kannte und irgendwie wollte. Und andererseits genau das gleiche wie vorher und das ist dann doch schade.
Ah, ich les gerade, dass die ihren Gitarristen und Songwriter nicht mehr haben. Ja gut, das merkt man irgendwie.
Egal, läuft.
Client Info
Server: https://mastodon.social
Version: 2025.04
Repository: https://github.com/cyevgeniy/lmst