Formed from the ashes of Spawn of Possession, Retromorphosis reunites the Incurso-era lineup. But while Incurso was a relentless push toward hyper-technical extremity, Psalmus Mortis marks a return to their roots, slowing down just enough to embrace a sound more grounded in classic death metal, now infused with a strong atmospheric edge built on haunting synths and much more spacious, deliberate song structures.
Production-wise, the band opts for natural tones and a less compressed sound that doesn’t chase loudness. The drums feel organic, with minimal sample replacement, a rarity in this style, and they drive the rest of the mix with authority. The guitars are minimally processed, and thanks to the lower overall volume, each instrument occupies its own space clearly. The interplay between bass and guitars is especially discernible, achieved without relying on a clicky kick drum. This clarity pays off during the slower segments, where each instrument enjoys full autonomy, creating an almost orchestral effect. It’s a dynamic enhanced by the raw, expressive performances and a restrained production approach that avoids overwhelming the listener, even amid the album’s intricacy.
Synths play a defining role throughout the album, helping to demarcate individual songs. On “Never to Awake,” they underscore the central theme, conjuring tension and dread, while on “The Tree,” they add weight to the contrapuntal melodies. Rather than acting as a constant wall of noise, the synths appear sparingly, amplifying the emotion of key passages and reinforcing each track’s identity. They also contribute significantly to the album’s orchestral sensibility. Vocalist Dennis Röndum sounds as ferocious as ever, his guttural delivery is intact, and while he still employs his signature frantic, almost rapped phrasing, it now feels more controlled and deliberate. His varied cadences are one of the album’s many highlights. Still, the standout performance comes from guitarists Jonas Bryssling and Christian Münzner. Their dizzying fretwork doesn’t impress merely through speed or technical dexterity, but through the weight and clarity of each note. There’s no unnecessary flash, every phrase is purposeful. The interplay of counterpoint and harmony elevates their work to a level few in the genre reach, proving once again that the real brilliance of Spawn of Possession, and now Retromorphosis, lies not just in technical skill, but in their refined approach to riffcraft. Even at its most brutal and chaotic, the music retains an undercurrent of romanticism. The complexity is never the point in itself, but the vehicle for emotional expression. Münzner’s solos are the final touch, rooted in the tradition of classic shredders, yet brimming with personality and soul. On tracks like “Machine,” especially during its climax, he both steals the spotlight and deepens the melodic narrative.
Psalmus Mortis, while outwardly displaying the hallmarks of technical death metal, is in truth something far more rooted in tradition. It draws deeply from the best elements of ’90s death metal, using virtuosic musicianship and modern production not as ends in themselves, but as tools to evoke a level of emotional intensity and brutality worthy of the genre’s greats. Like those classic works, it demands multiple listens to fully grasp the heart of the beast beneath the chaos. This is another canonical release from Bryssling and company, not just one of the best death metal albums in recent years, but one that rewards patience, attention, and immersion.
