Trial: Motherless-2017.

Trial:Heavy Metal from Sweden.


Demo 2010Demo2010 
The Primordial TempleFull-length2011
Malicious ArtsEP2013
Where Man Becomes AllSingle2014 
Sisters of the MoonEP2021


Andréas OlssonBass (2007-present)
See also: ex-Abscess Plague
Martin SvenssonDrums (2007-present)
See also: ex-Abscess Plague
Alexander EllströmGuitars (lead), Vocals (backing) (2007-present)
See also: ex-Ensnared
Andreas JohnssonGuitars (rhythm) (2007-present)
See also: ex-Ensnared
Arthur W. AnderssonVocals (2019-present)
See also: ex-Air Raid

Past Members:

Linus JohanssonVocals (2009-2019)
See also: Black CycloneMidnight StrangerLancer (live), ex-Immersion

One thought on “Trial: Motherless-2017.

  1. GuntherTheUndying, May 20th, 2019
    Man, I don’t know about this one. Trial’s past releases blew me away, especially the masterful “Vessel,” but “Motherless” sounds like a band gone frigid. The strange part is Trial did not undergo a radical metamorphosis between albums. “Motherless” picks up where “Vessel” left off, maybe plunges a little deeper into the general weirdness engulfing the band’s nightmare world of Mercyful Fate-inspired concepts and abstract Maiden-ish melodies and textures. This should have been a foreseen and welcome evolution, but I have trouble stomaching the final product. While I think I like the album, and there is plenty to enjoy, “Motherless” is caught in a void. Its atmosphere, arrangements, and foundation neither dissolve nor captivate when all is crystallized.

    “Motherless” is a continuation of the style seen on “Vessel.” The riffs coil in elaborate designs usually writhing around mid-paced rhythm sections, although up-tempo parts exist. Trial sounds like Mercyful Fate, Iron Maiden, a progressive mindset for asymmetrical rhythms and sequences, and maybe a dash of old Fates Warning pitched in. The songs gush with detail, soaked in the blood of Trial’s mystic work. I see a lot of people complaining about the vocals, but they sound fine to me. Like “Vessel,” the singer sounds like a sinister John Arch or Bruce Dickinson coated under a cryptic, occult shadow. A little wobbly and off-kilter at times, yet this is also how Trial musically presents itself; the vocals serve to enrich the esoteric atmosphere, not subtract from it.

    Is it memorable? Not really. The songs zip in and out in their weird, detailed manner, bobbing and weaving through particularized structures, which clearly were written with care. Few parts make the record’s blood pump, and it mostly feels like a routine by the time it clocks out. The last three tracks are like an uber-song of several trance-like, meditative passages leading it in and out and a multi-layered bridge of how the album generally identifies connecting it all together. How does it sound? I don’t know. I don’t feel any sense of emotion invoked, despite having the ups and downs and twists and turns one would usually find mandatory for a similar concept. This is exactly like “Vessel,” minus any stopping power or presence.

    I can’t put my finger on why “Motherless” fades away. I have let this gel for over a year and I still feel detached. Maybe “Motherless” is too ahead of its time. Maybe the album’s equation isn’t as otherworldly and groundbreaking as it thinks it is. Maybe the intricate bits lack the ability to mesmerize, or maybe the whole display contains complexities and nuances beyond the naked ear. These are all feasible options, all true and false at the same time. As wonderful as Trial may be, “Motherless” performs its esoteric act and refuses to explain itself or whatever it intended to be. Again, this is one of those weird ones.

    This review was written for:


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