Mors Principium Est

The band name is Latin for "Death is the beginning" or "...the basis" or "... […]
By "Der Bärtige Mann" Gareth Beams
October 17, 2020
Mors Principium Est - Seven album cover

The band name is Latin for "Death is the beginning" or "...the basis" or "... the ruler".

Ok, so I looked into the band on a few different sources to find band members and it appears that only the top two are full time, with Marko being confirmed via Facebook as the drummer for this album. Ex-DEPRESSED MODE bassist, Teemu Heinola left the band this year, though I cannot find out when, why or if he had any input on this album. As far as live performance band members go, Drummer Iiro Aittokoski, also ex-DEPRESSED MODE, EARTHERIA guitarist Lauri Unkila, Joni Suodenjärvi, bassist of HATEFORM and ex-MEMOIA guitarist Jarkko Kokko make up the lineup. Again, no idea if they had anything to do with this album, all signs point to no. so since 2017's release of the awesome album, Embers of a Dying World, apart from the lineup changing with also drummer Mikko Sipola leaving, what else has changed? Hopefully not the attitude and awesome material. Let's find out.

"A Day for Redemption" opens up the album slowly, building up with their crazy orchestra style melodies that fans will have heard used several times in their other albums, usually builds up to explode. Not exactly an explosion from the change, but a bridge to take into the new style. The aggression and power is easy to hear from the introduction of full powers of the band. They blend symphonic skills with the Melo Death appeal brilliantly. Their use of technical riffs blending with the skills already mentioned is in huge credit to the guys, they can create harmony through chaos. Instrumental beauty is also thrown in to really show off. If this is your first time of hearing these guys, they want you hooked. I am loving this start to the album.

"Lost in a Starless Aeon" takes no prisoners either in the start f the song, full power from the off. It doesn't exactly follow on from the previous song, but it doesn't give you chance to catch your breath either. The melody mania at the off is brilliantly played. The riffs once the vocals kick in are very similar to the previous song, then they redo the mental speed that they started off with, mixing it up well and creating further harmonies. The vocals are passionate as ever, these guys will go all out. The technical play is different and very old school-Thrash in its hard-hitting short outbursts. Just adding more points to their score. They even go on a clean solo just to show really that they have no limits to the talent they possess. It feels like the build up could hit out in a number of directions so it keeps up the suspense flawlessly.

"In Frozen Fields" goes almost symph-atmospheric to start, adding some keyboards just for good measure. These soon end of course to go back to the expected full-on melee, and yet as the melodies are once more shirt and hard-hitting, they are totally different to what we heard previously. It's a bit slower of a song, more controlled, maybe. However, that is just in comparison to the other songs on the album. There is not the same buildup through the song until the second half, which it rebuilds the speed, never quite feeling like it would explode, however, reaming harmonic within itself perfectly.

"March to War" returns to the orchestral opening harmonies, adding depth and building up the tempo nicely. The vocals kick in and the tempo bursts through nicely, the aggression easy to hear again. Its very upbeat, more like you may expect from SABATON in the way they keep fans on their toes with their chanting. The song is keeping within the speed of the previous song, it adds more depth with the more harmonic piano/keyboard additions. Speed has been removed to be taken over by beautifully maintained harmonies, filled with spoken word to add even more depth, somehow. They end with the speed picking up once more for a frenzied finish.

"Rebirth" kicks the tempo up a gear or two, back to how the album started. This ine seems like it is trying to be darker, more Symphonic Death Metal ideas, but the speed and frenzied guitars bring it back to where Melo Death ruled. The overall pace has slowed down again, but it matches where the album is at this point, have no fear though because, once again they end strong. Never fading away.

"Reverence" has the Symphonic start again, which opens up the melodies to be slower, balancing well with the harmonies. Mixing together beautifully. It is a brilliant harmonic short piece to help the album steady itself.

"Master of the Dead" goes all space age shit, more experimental as an opener, but you can hear the instrumentalists breaking it down, creating their own melodies. The screams to kick the melodies off is a welcomed changed, more aggression again. The speed has regained its composure and returned with meaning. This is more of how I was expecting the album to sound. The song seems to have more aggression building, but never exploding. There is a space vs instrumental battle in the middle which expands the song nicely. It is very experimental for where the band usually goes. Less harmonic, more atmospheric-kinda.

"The Everlong Night" picks back up on the Melo Death, however the pace has been lost from the start of the album. Saying that, with this kinda skill it is hard to knock anything they make, where the pace may have dipped, the talent has not. The blend of melody changes actually kicks new life into the song, coz when you think it will remain in the one direction, it changes, kicking life into the song, adding more depth and appeal.

"At the Shores of Silver Sand" keeps with the similar pace that most of the album has got, less Thrash, more Modern Metal pace. The song goes through the motions as you would expect, but before the 2-mnute mark it breaks out and adds more aggression and passion. The clean-cut solo emphasizes the passion in which the song portrays. The pace on the next instrumental segments increases again, keeping it interesting.

"My Home, My Grave" is the close to the album, it goes almost Halloween themed, which I was not expecting. Then the drumming kicks in to add a huge increase, sounding more like a POSSESSED style song on the opening. The pace remains solid as the vocals kick in. just as the song seems to be going into a loop, it jumps back up and kicks the gear higher. Good idea. It keeps the ideas jumping around through different melodies to keep it fresh. It has a strong ending, even if it is a bit repetitive.

It's a great album, full of different styles in Symphonic openers to Thrash riffs. This is a good album to get into the band, an intro, showing how vast they can be with their material. Good overall album, enjoyed this one, and several songs going on my iPod.

7 / 10









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"Seven" Track-listing:

1. A Day for Redemption
2. Lost in a Starless Aeon
3. In Frozen Fields
4. March to War
5. Rebirth
6. Reverence (Instrumental)
7. Master of the Dead
8. The Everlong Night
9. At the Shores of Silver Sand
10. My Home, My Grave

Mors Principium Est Lineup:

Ville Viljanen - Lead Vocals
Andy Gillion - Guitars

Marko Tommila - Session Drums

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