Review by Felix on February 7, 2025.

I don't know why Sodom have the intention to release more EPs than the rest of the global worldwide scene combined. Anyway, here we have 1982. It presents exactly one new track (and only if one ignores its integration on the best of from 2022). That's not much, to say it politely and I am not sure whether the band does itself a favour with this publication policy. From my point of view, they are the most authentic (or only absolute authentic) long-standing formation from my homeland. Their punk-infused albums were much closer to their primordial style than albums such as Endorama and… well, you all know the mediocre experiments of Destruction, Tankard or (Grave) Digger. Thus, it is all the more regrettable that they release EPs again and again instead of a new full-length.

Either way, 1982 marks a very solid song with a remarkable raw catchiness. Its rolling mid-tempo lines accompany Tom's voice which is on its way to become a trademark of German metal par excellence. Of course, a more or less predictable high speed part is included as well. The song does not have the quality to reach the top ten or top 20 of Sodom's material, but it is okay and I don't deny its invitation for a nice little headbanging session. (Everything is better than trying to find any sense in the artwork...).

Of course, the song is well produced and the same goes for the remaining tracks. It's a bit of a paradox to get this mouldy tracks in a modern technical frame, but simultaneously this approach keeps things interesting. Of course, the unholy (hahaha) intro of "Victims Of Death" is ridiculous and the riffing of the songs is pretty primitive, but power, speed and ugliness celebrate a stupid yet funny party. The lyrics are barbarically bad and can only be explained by pubertal confusion of thought, but come on, it's art and I don't care too much about this. Finally, all songs show Sodom in pure and honest form and the EP demonstrates that dealing with the past does not mean to lose the future. But after six EPs between 2018 and 2023, it is definitely time for a new full-length from the Ruhrpott, the most Western part of the a country called West Germany back in 1982.

Rating: 7.8 out of 10

Review by SzejkElRopa on May 14, 2026.

After reviewing Tårfödd's "Lidande", which turned out to be a very solid release, I decided to delve into Simon Lindgren's earlier works. Since the first full-length, "Save the World by Dying", was deleted from everywhere due to its low sound quality, I decided to give his second album, "Mörker" (which means “darkness” in English), a listen.

From the first minutes of the album, it's clear that Tårfödd didn’t change their style much compared to "Lidande". It’s best described as atmospheric black metal with depressive and progressive influences. Atmospheric passages usually appear at the beginning of songs — fitting, as Simon mentioned that everything started with him playing acoustic guitar on his sofa. There are some exceptions to that pattern, like in "Naturen gråter", where the song slows down in the middle section. I consider this track a standout thanks to its catchy chorus, even though I’m not entirely sure it's Simon doing the screaming here.

Another aspect worth mentioning is Johanna’s clean vocals. It may sound like an odd combination at first, but the contrast between her clean singing and the harsh vocals works surprisingly well. My favorite moment involving this contrast is in "Vid slutskedet’s stup". Some riffs are melancholic ("Vargavinter"), but overall, the atmosphere is simply… dark — just as the title and cover art suggest.

The main issue with the album is that some of the songs sound quite similar, especially in their midsections, where the atmospheric moments are less prominent. If I had to name a specific track just from hearing a middle passage, I might struggle. That said, not all 43 minutes suffer from this — "Naturen gråter", as mentioned, and "Rädslan" are good examples of more distinct compositions. The latter is the most progressive track on the album, featuring various vocal styles and a melody that feels quite unusual for black metal.

Simon’s screams aren’t particularly extraordinary, but paired with Johanna’s backing vocals, they gain depth and keep the experience from becoming monotonous. The riffs don’t break any black metal rules — and while they can feel repetitive at times, they’re clearly not written without care or passion.

For me, the biggest flaw was the drum work — or more accurately, the drum machine. While not a problem across the entire album, at least half of it is filled with brutal blast beats. I don’t mind that technique in general, but here, they often drowned out the guitars, and they lacked the emotional aggression that blast beats are typically known for. In general, the drumming felt uninspired.

All in all, Mörker may not be a groundbreaking record, but it still stands out as an intriguing gem hidden among thousands of black metal releases. It’s a fairly enjoyable listen despite its flaws — and don’t forget, this is a one-man project! Definitely recommended for anyone interested in a slightly different take on the genre.

Rating: 8.2 out of 10