Missed Album Review: Thragedium – Lisbao Depuis de Morta

Style: fado, dark folk, gothic doom metal (mixed vocals, Portuguese/English lyrics)
Recommended for fans of: Empyrium, Wardruna, Moonspell, Agalloch
Review by: Sam
Country: Portugal
Release date: 31 October, 2023

“Magical.” One of those words we often use to describe art or experiences of which everyone knows what it means but a concrete description for the word is often difficult. The literal concept of magic is used in fiction and mythology, seen as either a force of good or a force of evil, depending on the intentions of its user. In real life, however, the word’s usage is almost strictly positive, and not just that, but one of the highest attainable states of euphoria: attained through chance or skill, it’s a perfect combination of beauty and a floating detachment from our daily struggles—the perfect escapism, if you will. 

Earning this descriptor for your music is seldom achieved, but I believe that the atmosphere Thragedium conjure on Lisboa Depois de Morta is worthy of such praise. From the very first moment it is clear that something special is going on here. A single bass chord and a plodding ritualistic drum beat alone may not sound impressive, but the weight and spacious reverb given to them in the mix resonates deeply in my body, and when traditional Portuguese acoustic guitar melodies (fado), deep choral chants, and all sorts of bells and traditional percussive instruments come in a few moments later, I find myself transported to another dimension. Whispered vocals join in soon after, and then harrowing gothic doom lead guitar melodies hammer in the melancholy. By the time the band introduces breathy harsh vocals, I am completely enthralled and have left our world of today behind entirely. Clearly magic is not lost in this world.  

Lisboa Depois de Morta—literally translating to “Lisbon After Death”—is a play on the concept of timelessness, a concept evoked musically by mixing traditional and contemporary styles. The album details the cultural death of the Portugal of old (Lusitania), conveyed through references to ancient Portuguese myths, tales, and legends, as well as historical events dating back to the days before the Roman occupation of the Iberian peninsula. What makes the lyrics fascinating, though, is that despite the practice of the culture of old being gone, the band hints at its essence remaining deeply entrenched through time—just because the traditions of old are gone doesn’t mean they haven’t shaped the culture and live on in new ways. “Lucifécit,” for example, mentions Christianity overtaking the Endovelico cult through a reference to the tale of Salúquia; a girl jumped off her tower to prevent becoming a slave under Christian rule but also proclaims the cult’s spirit to live on as the song quotes an inscription on the cult’s only remaining temple: “EX IMPERATO AVERNO,” a reference to how steam would emanate from the earths below and grant clairvoyance. The following verse, “I am above you, I am beneath, I am within” then solidifies this spirit. Other songs tale mourning, betrayal, but also accepting cultural change instead of letting its ties bind you. Safe to say, I highly recommend immersing yourself in the lyrics. The band put a ton of thought into them. Let’s talk music now, though.

The various elements I mentioned earlier form the basis of Thragedium’s sound. Lisboa plays much like an exploration of a mood more than a collection of songs, each track emphasizing different aspects: the opener, “Desagregação,” highlights the band’s gothic side by its harrowing leads and longing vocals; “Lucifécit” revolves around a bright fado melody; “O Pacto” is a percussion-driven song; “Nations Fall” is as doomy as the song title suggests, among several other examples. On a macro level, this variety keeps Lisboa engaging, yet on a micro level, this results in rather static compositions lacking in payoff. Especially in the middle of the album songs like “Nations Fall” or “Pretérito Imperfeito” either lack resolution, barely develop their themes, or both. The best tracks are those that give a sense of story and attempt to build to a satisfying conclusion like “Lucifécit” and “Trimarkisia,” unexpectedly going into double time near the climax (the latter even incorporating an electric guitar solo to top it all off), or the closing track “The Old Oak and the Mandrake Root,” which continually builds the atmosphere around its comfy acoustic ‘lighters out’ main melody. Out of the dozen times I listened to Lisboa, I found myself utterly engrossed in the beginning, zoning out in the middle, and then pulled back in for the final three tracks—there is definitely some fat to be trimmed here.

Nevertheless, Lisboa Depois de Morte is an album I will recommend wholeheartedly. I spent the last three months trying to piece together this review because of how incredibly elusive Thragedium’s music is to describe. Some issues with length and static songwriting notwithstanding, this is a unique, immersive portrait of an ancient Portugal and an exceptional showcase of what makes folk music such a compelling genre. Magical, indeed.

Recommended tracks: Desagregação, Lucefécit, Trimarkisia, The Old Oak and the Mandrake Root
You may also like: October Falls, Tenhi, Nechochwen, Nytt Land
Final verdict: 8/10

Related links: Bandcamp | Spotify | Facebook | Instagram | Metal-Archives page

Label: Alma Mater Records – Bandcamp | Facebook | Official Website

Thragedium is:
– Nuno Cruz (vocals, lyrics)
– João Paulo Farinha (guitars, keyboards, percussion, vocals, lyrics, songwriting)
– José Bonito (bass, vocals)

With guests:
– Marie Beatriz Lúcio (vocals on track 6 & 11)
– Hugo Ribeiro (drums)
– Pedro Oliveira (vocals on track 8)