Tria Prima — The Mortificatio Review
Tria Prima, a Ukrainian band, conjure alchemical Death Metal infused with elements of Doom and Dungeon Synth. On 18th November 2025, the band unleashed their full‑length Mortificatio, released through Nocturnus Records.
Tria Prima, Mortificatio Review: This review will evaluate every aspect of the album, from its intricate musical composition to its production. Our analysis will provide valuable insights to help you determine if this album is worth adding to your collection.
The First Three Sins, The Summary
The Fourth Sin, Overall Discussion
Arx Fatalis: The Gate Opens
From the moment play is pressed, the opening hymn, Arx Fatalis strikes with force. It bursts with instruments and voices. Symphonic death metal entwines with creeping doom metal elements. This sets the tone for the whole album.
The Mortificatio: Seven Hymns of Decay
The Mortificatio runs for forty-two minutes, unfolding across seven hymns. Each hymn seizes the listener’s heart and ears. Avant-garde sounds fill the space. Tempos shift with each song. Compositions vary. Arrangements differ too. All tie into alchemical ideas. Melodic and symphonic death metal blends with doom. Dungeon synth conjures mist-laden atmospheres.
Musically, it fuses death metal ferocity with ritualistic symphonic and dungeon synth atmospheres, evoking the alchemy of transformation—mortification being the first stage of the alchemical Magnum Opus
Alchemy in Sound: Decay and Transmutatior
The sound design mirrors alchemy itself; Mortificatio embodies decay. Crushing guitar riffs pound it out. Transmutatio comes through layered symphonies. They lift the chaos. The opus ends with vast synth swells. These build to peaks. The recording feels raw yet formal. It nods to underground roots while reaching for epic myths. Mixes keep guitar density sharp; synth layers remain ritual-like. Clarity shines through. Grit from the metal scene holds firm.
Dungeon synth passages are not polished to perfection — they retain a raw, ceremonial edge, reinforcing the esoteric concept.
Instruments of Ritual & Devilmanship alchemical
Tria Prima’s devilmanship is tight, complex, and refreshing — but charged with dark alchemical energy. The instrumentation and composition are honed to perfection. Dual-layered guitars carry a death metal backbone — heavy tremolo picking, palm-muted chugs, and occasional doom-laden slow passages. Guest/session guitarist Evgen Vasilyev often shifts into melodic, neoclassical phrasing, echoing the symphonic grandeur of bands like Fleshgod Apocalypse.
Serhii’s bass lines are thick, anchoring the sound. Typically, the bass tracks the guitars. At times, it breaks free. Ritual lines highlight alchemy’s steps. Yuriy Sinitsky’s drums are chaotic, blast beats tear through; double kicks hammer the fiercest passages. Mid-speed doom beats add weight. Tom drums build ceremony in shifts.
Organ-like drones, ritual bells, and orchestral layers frame each hymn as a ceremonial stage, especially in Transmutatio and Magnum Opus.
Ceremonial Voices of Transformation
Ruslan Hrytsiuta’s vocals lead with harsh growls; they rasp deep and strong. This roots the album in decay’s pain. Spoken words appear only rarely. They stress change in alchemy. Guest singer Trevor Nadir from Sadist joins on Transmutatio. His voice adds a sharp, global death metal edge. The first three hymns feature guest vocalist Anira Star, adding dark, ethereal singing vocals.
Anira’s vocals are haunting, ceremonial, melodic — cutting through the dense death metal instrumentation with clarity.
Stages of Alchemy: From Rot to Magnum Opus
As noted, tracks differ like alchemy’s steps. Arx Fatalis opens as a fortress of decay. It builds the sacred mood. Mortificatio dives into death’s rot. Raw heaviness chokes the air. Actum Exitium strikes with fury. It destroys and lifts energy high. Transmutatio flips the script. Decay turns to a fresh start. Motion drives the alchemy.
Magnum Opus crowns the work. Grandeur and rise fill it. Arcanum Six hides secrets. It hints at a sixth change layer. Porta Alchemica seals the path. Mortificatio ends. The gate to higher states swings wide.
Instruments shift with these stages. Decay rages in “Mortificatio.” Destruction blasts in “Actum Exitium.” Change flows in “Transmutatio.” Completion reaches its peak in “Magnum Opus.” Vocals start fierce and guttural, then ease into soft ritual chants. This traces the sacred path.
The Magnum Opus: A Metal Altar
Guitars and drums smash, decay and ruin. Synths and growls lift to change and rise. The mix turns feral yet holy. It matches alchemy’s core in The Mortificatio. Listeners sense the full journey. Each note pulls them deeper into the rite. The album stands as a metal altar — a rite of decay transmuted into grandeur, sealing the Magnum Opus. Fans of symphonic death will find layers to unpack. Doom seekers get the weight. Synth lovers catch the mist. All blend in one transformative blast.
Mortificatio Concludes: Decay Transfigured into Vision
As the album draws to its solemn closure with the final hymn Porta Alchemica, the rite feels complete. The gates of transformation swing wide, sealing the journey of decay into transcendence. We extend our deepest thanks to Tria Prima for entrusting us with the honour of reviewing their fruit-opus The Mortificatio — a work of dark alchemical artistry, where devilmanship and vision converge into a seamless, mystical concoction.
The Fifth Sin, The Memorabilia
From the very first note of the opening track to the closing hymn, the album unfolds as an experimental, dark alchemical fruit of art. The Mortificatio feels stronger than their EP Three Primes of Alchemy. Just like the EP, the artistry and devilmanship behind the music are key to its success. The elements harmonise beautifully, creating a seamless experience that feels like a mystical concoction brewed by a sorceress.
The first three hymns were my favourite, especially Anira’s haunting, ceremonial, melodic vocals.
The Mortificatio is an album that wields brutality and darkness at its core, crushing yet transcendent — is what seals the album as an alchemical rite. It doesn’t just play heavy music; it transforms heaviness into atmosphere, brutality into ceremony.
The Sixth Sin, The Artwork
The artwork may falter, but the music redeems — brutal, symphonic, and utterly transformative.
The Seventh Sin, Disrelish
There is truly nothing to dislike in the musical offerings of The Mortificatio. Thus, we bring our review of this opus to its solemn conclusion. I would like to take this opportunity to express my gratitude for your time in reading, and I wholeheartedly encourage you to explore the alchemical work of Tria Prima — a band whose artistry and devilmanship have forged a creation both brutal and transcendent.
The Hymns
01. Arx Fatalis
02. Mortificatio
03. Actum Exitium
04. Transmutatio
05. Magnum Opus
06. Arcabum Six
07. Porta Alchemica
Tria Prima
Ruslan Hrytsiuta — Vocals, Guitars, Keyboards, LyricsSerhii D. D. Bonda — Bass, Back Vocals, Keyboards, Songwriting, Conception
Yuriy Sinitsk — Drums
Anira Star — Guest Female Vocals
Evgeniy Maestro — Guest Solo Guitars, Keybords
Trevor Nadir (Sadist) — Guest Vocals