Death Mother (Church Road Records) is the debut full-length from Sweden’s Blodet, and it arrives after the tragic death of their guitarist Rickie Paleski-Östland, who contributed to the writing of the album. In spite of the inevitably difficult process of getting the record finished, it is nevertheless described as “cathartic”, “mesmerising”, and “alluring” by the press release which also draws comparisons to Chelsea Wolfe, Cult of Luna, and Sonic Youth.
Indeed, Death Mother contains elements of post-Punk, post-rock and Atmospheric metal throughout its five (mostly long) songs. Chiming clean guitars often provide the textural focus, whilst driving and hypnotic bass riffs mesh with weighty drums to lay a muscular backdrop. The tempos are generally slow to mid-paced and a lot of breathing space is left for the forlorn soundscapes to envelop the listener.
Hilda Heller’s voice is suffused with a sense of desperation as well as a soothing quality, and her compelling melodies help to shape what might otherwise be abstract experimental pieces into structured songs.
The tracks here flow into one another and adhere to a cohesively sombre and brooding mood, but the tension levels and dynamics vary widely and fluidly. “Without Within” (a 15-minute epic and album highlight), for example, moves between eerie muted segments and colossal Doom Metal riffs.
During other tracks Blodet move deftly around the space between these extremes whilst maintaining emotional consistency. Album closer “93 – 22” (no doubt a reference to Paleski-Östland), deviates slightly from the feel of the other tracks; it is the only piece shorter than six minutes (at 3:50), the only instrumental, and the only place where Blodet ditch the drawn-out slow pace for fraught and agitated post-Punk syncopation.
Other notable high points of the record include the desolate but catchy post-Doom chorus of the title track, and the intertwining guitar ostinatos and memorable vocal hook of “Lead Me Home.”
Death Mother could perhaps be said to occupy the space in between post-metal, shoegaze and the modern dark singer-songwriter style. Although it doesn’t necessarily explore any completely new territory, the music here seamlessly integrates more abrasive and noisy elements with a subtle and nuanced approach to orchestration and melody.
It’s not exactly full-on metal (though the genre’s influence is felt throughout), but even during its many hushed and surreal meanderings it feels emotionally heavy.
Blodet are in the early stages of their journey as a band, and with Death Mother they have worked through difficult circumstances and created an immersive and powerful work whose rich textures, dynamic light and shade, and emotive songwriting will be surely be further expanded upon with future releases.
Buy the album here:
https://blodet.bandcamp.com/album/death-mother
7 / 10
DUNCAN EVANS