Track By Tracks: Shadows - Miseria (2025)

1. As Above So Below:

The lyric to this song deals with the absence of meaning in a universe that doesn’t care and never did. It rejects the comforting belief that anything beyond us holds order or intention. What we call structure is just coincidence, and what we call light only highlights the futility underneath. Nothing is coming to save us.

2. Lamia:

Lamia draws from Greek mythology, but not just to retell the story. I was more interested in the themes beneath it. How grief, punishment, and transformation turn a victim into something feared. The song speaks to how pain becomes distorted and how the one who carries it often becomes the threat.

3. Delivered From Sin:

This track confronts the church as a system built on silence, control, and self-preservation. The priest is a symbol for that system: an institution that presents itself as a moral authority while enabling abuse and hiding it behind ceremony and dogma. It’s not about individual corruption; it’s about the structure that protects it. The rituals, the hierarchy, and the language of forgiveness are used to erase accountability. I’ve never believed in any of it, and it sickens me.

4. Nadir (No Consent):

This one questions the assumption that life is inherently valuable. It pushes back against the idea that existence is a gift, especially when it’s forced, and tied to suffering by default.

5. Spring Sleepwalker:

This track is based on the death of someone I once knew. Someone who walked into a lake and didn’t return. The image stayed with me: the stillness, the silence, the quiet horror of it. But more than that, it’s about what was left behind. The confusion, the fallout, the unanswered questions.

6. A Seance:

This song isn’t about ghosts in the usual sense. It’s about what refuses to stay buried. Memories, regrets, all things left unsaid. The seance is just the setting, but the real haunting comes from within. The dead in this track aren’t peaceful. They don’t return to offer closure or comfort. They return full of what had been denied to them.

7. Mässa XCIV:

The only lyric I wrote in Swedish, my mother tongue. A death mass with no comfort, no plea for meaning. This song moves through sorrow, disease, and the slow collapse of the body. Met not with fear, but with a kind of cold acceptance. It treats death not as a tragedy, but as an inevitability.

8. Cycles:

This one’s about repetition. The same gestures, the same failures, dressed up as progress. Life reduced to routine, meaning performed rather than felt. There’s no climax here, just the dull weight of going through motions that lead nowhere.

9. Unnamed Sorrow:

A song about the kind of grief that doesn’t make itself visible. It builds slowly, silently, with more erosion than collapse. Memory fades, feelings dull, and eventually it becomes hard to say what was lost at all.