Sweden – one of the strongholds of metal music. Year after year bands from that part of Europe storm the scene, breaking through to the top of the heavy metal charts worldwide. One of the most recent examples is Tribulation. Ten years after their inception, the band takes the global stage with signing a recording deal with Century Media, and the upcoming release of their eagerly anticipated third LP, The Children of the Night. Tribulation have confirmed their aspirations by going on American tour with two of the biggest extreme bands to roam the stages around the world today – Cannibal Corpse and Behemoth in February and March.
“It was fantastic tour to be on.” says Adam Zaars, part of the guitar force of Tribulation. “Touring with two of the biggest bands in extreme metal nowadays was a pleasure, and the people showed up early for our performances, which was amazing.”
And there is nothing surprising about fans’ reaction. Tribulation’s reputation as excellent performers is growing.
“We started 5.30PM in some days, and they were there to watch our shows! That was also probably the easiest tour we have been on so far. Both headlining bands are huge and extremely professional. But they are also great people, and they took good care of us (laughs). We shared our bus with other Swedish band, Aeon, so we had a really good time.” adds Adam.
The new record of the Swedish quartet is a massive statement and a demonstration of musical and technical abilities. It is also a perfect example how right influences can make your music unique.
So who are “The Children of the Night”?
“It describes the band but also everybody who listens to the album. But most of it it’s a description of our personalities that make Tribulation.”
The new music is even more melodic and atmospheric than The Formulas of Death. And there is something that bonds Tribulation with other Swedish bands like Dissection, Tiamat, Opeth, Morbus Chron, or Ghost B.C.
“I guess what links our music to Dissection and all those bands you’ve mentioned is Swedish folk music. It’s played a big role in our lives. It’s something we grew up with. It’s in our blood.”
One of the highlights of the new album is epic ‘Winds’ – its construction, melodies, Gothic theatrical atmosphere resembles of that of Cradle of Filth from late ’90’s. Are Tribulation secret worshippers of the controversial Suffolk band?
“No, you’re not correct (laughs). Actually we’ve never listened to them… But maybe you are right, I don’t really know as I never listened to their music, but this is the first time someone has found this similarity (laughs).”
The Children of the Night is a logical consequence of Tribulation’s musical development through the years. Some bands want to remain in certain formula, the other want completely new approach every time they enter the studio. Adam is clear on this matter.
“We didn’t really sit down and plan anything. I actually thought the album will turn out quite differently – I thought it was going to be a lot longer, more spacey and ambient (laughs) but it turned out to be something else. We try to never think about the end product. We try to rely on our intuition. And this is what we’ve always done, I guess.”
The new album is very well produced, and an ear will catch that a lot more time was given for putting everything the right place. Adam voiced his disappointment with studio time in the past, but this time he is happier about the comfort of putting everything together in the studio.
“We spent 4 weeks recording it. We have wanted four more weeks to be honest. But sometimes you can only get limited time. But we feel we managed to do it well anyway. I mean, sometimes you work better when you’re under pressure. But time spent in studio was for us really inspiring. In fact, we moved around. We had three main studios: first one for the drums, second one for guitars, bass and vocals, and the third one for all the other additional instruments. It was very satisfying, actually.”
That may sound like a lot of hassle, and be potentially distracting. But having been on a budget, that was the most optimal decision the band had to make to achieve the best possible sound quality. Mr. Zaars goes into more detail.
“It was all pulled together by Ola Ersfjord, our producer. It was purely economic solution. We wanted to record the drums in a proper room, but it turned out our budget was too tight to do the whole work there! So we moved to Nicke Andersson’s new studio, located in his basement. It was like a playground almost for us (laughs). Overall it was a great experience, because every studio was different, and we’re always looking forward to something new”.
ARMEN HACZMERIAN