Tribulation’s Sub Rosa in Æternum pulls listeners into a brooding, textured world that sits somewhere between gothic metal and haunted cinema. This album feels like a culmination of Tribulation’s unique voice - introspective yet theatrical, darkly melodic, and intense without sacrificing atmosphere. From the first few measures, it’s clear that Sub Rosa in Æternum builds on the band’s previous work but ventures deeper into a territory of shadowy refinement and eerie elegance.
The guitar work from Adam Zaars and Joseph Tholl is especially striking here, setting the album’s tone with a blend of clean, echoing leads and resonant, heavy riffs that shift between wistful melody and crushing weight. Their guitars seem to drift through the tracks like fog, giving each song a kind of wistful atmosphere while driving home some serious power. This thoughtful layering allows both the melodic and heavier elements to breathe, drawing the listener into a soundscape that feels tangible and cinematic. Oscar Leander’s drumming is skillfully balanced, never pushing too far forward but punctuating the album with intensity at the perfect moments. His rhythm work has an understated precision, adding momentum but also letting the album’s mood settle.
Johannes Andersson’s vocals are as gravelly and raw as ever, but here they take on a restrained quality that melds seamlessly with the album’s ghostly tones. Rather than dominating the sound, his voice complements the shadows cast by the instruments, adding to a sense of eerie storytelling and pulling us into the depths of each track.
The album’s pacing, though, is its greatest strength and occasionally its most polarizing aspect. Tribulation let each song unfurl with a slow-burn intensity, building atmosphere over quick payoffs. It’s a bold move that pays off, especially in the album’s most intricate moments. But at times, the slower tempo and repeated thematic structures can feel slightly drawn out, like a descent that lingers just a touch too long on the same path. Listeners fully immersed in gothic metal’s slower, more atmospheric side will likely find this approach satisfying, while those seeking more dynamic shifts might feel the pull for a bit more variation.
The production enhances this cinematic feel without sacrificing the raw edge that defines Tribulation’s sound. There’s a spaciousness to the mix that feels perfectly suited to gothic metal: not overly polished, but with enough clarity to let each instrument breathe. Sub Rosa in Æternum is rich with reverb and texture, making the music feel almost tangible - as if each note were casting shadows in the room.
In all, Sub Rosa in Æternum is a rewarding listen that pushes the gothic metal genre’s boundaries while paying homage to its essence. Tribulation has managed to create a distinctive mood that’s timeless yet refreshing, rooted in gothic tradition but undeniably their own. For its masterfully layered atmosphere, immersive soundscapes, and a deft balance between melody and darkness, this album deserves a solid 4 out of 5. It’s an album to get lost in, and one that reinforces Tribulation’s place in the modern metal scene.