In the world of extreme metal, few bands have undergone as dramatic a transformation as Soulgrind. From their humble beginnings as a raw, solo death/doom act in the early '90s, they've evolved into a melodic, gothic black/thrash force, and their tenth album, Ad Pulchram Mortem, is a testament to this journey. This album marks a significant return after a 16-year hiatus, and it's a mixed bag of old and new, passion and inconsistency.
One thing that immediately stands out is the evolution of Soulgrind's sound. Their early material, characterized by raw, demo-level production and grating blackened rasps, has given way to a more polished, melodic style. This shift is particularly evident in the introduction of vocalist Tanya Lilith, whose melodic touch has become a cornerstone of the band's sound. The album's opening track, 'Jylhä Metsämies', showcases this evolution, blending gothic touches with thrash elements, and setting the tone for the rest of the record.
What makes this album particularly fascinating is the way it balances the old and the new. The blackened growls of keyboardist Azhemin, who replaced the band's long-time drummer and occasional vocalist Agathon 'The Beast', add a harsh edge to the music, while Lilith's emotionally charged cleans provide a soothing balm. This dynamic is best exemplified on the finale, 'Into the Shadows of Devotion', where the duo's contrasting styles create a jaw-dropping outpouring of passion and melody.
However, the album is not without its flaws. The inconsistency in song quality is a notable issue, with some tracks, like 'In the Circus of Tuonela', feeling out of place and lacking memorable hooks. The album's length, at 65 minutes, also feels excessive, with the final eleven-minute track, while incredible, losing impact due to its length. This suggests a need for more editing and cohesion, which is a common challenge for bands returning after long hiatuses.
In my opinion, Ad Pulchram Mortem is a mixed bag. While it showcases the band's evolution and the incredible talent of Lilith and Azhemin, it also suffers from inconsistency and a need for refinement. The compositions revolving around Lilith are too good to be overlooked, and her soaring performance is a highlight. However, the album as a whole feels like a work in progress, and I can't help but wonder what a more cohesive record might have sounded like.
This raises a deeper question: How do bands navigate the challenges of returning after a long hiatus, and what does it take to create a truly cohesive and impactful album? Soulgrind's journey is a fascinating one, and it will be interesting to see if they can build on the promise of Ad Pulchram Mortem and create a new, even more compelling chapter in their story.
