Swedish guitarist Jonas Brytting made his mark with technical death metal legends Spawn of Possession, but after more than a decade away from the spotlight, he’s returned with a brand-new project: Retromorphosis. Their debut album, Solus Mortis, is a masterclass in dark, atmospheric death metal—an album that nods to the past while carving its own grim path forward.

Tom Sungren caught up with Jonas to talk about the band’s origins, the making of Solus Mortis, and what the future holds for this haunting new chapter in extreme metal.

From Spawn to Solus Mortis: A Creative Break and a New Beginning

Tom Sunen: Let’s start from the beginning. After the Gorod/XVUS/Obscura tour in 2012, where did life take you? Were you still involved with metal?

Jonas Brytting: Right after that tour, I actually started writing for a new Spawn of Possession album. But then life happened—my wife got pregnant with our second child in 2014, and I was working crazy hours. I just didn’t have the energy to commit, so I ended the band. I didn’t want to leave fans waiting forever.

But I never really stopped writing music. I wrote casually—some black metal, some death metal. Two songs on Solus Mortis—“Vanished” and “Never to Awake”—actually date back to that time.

A Haunting New Vision for Death Metal

Tom: When I first heard Retromorphosis, I expected something closer to old-school death metal. But Solus Mortis goes way deeper—it’s melodic, complex, and atmospheric as hell. Was that the vision from the start?

Jonas: Totally. When I started pulling old riffs together for the album, I knew I didn’t want to just go full OSDM. I love those vibes, but I wanted something darker and more layered. I tried to build an album with variety—moods, textures, and atmosphere. Not just brutality for brutality’s sake.

The Writing Process: Guitar First, Synths Later

Tom: What did the writing process look like compared to Spawn of Possession days?

Jonas: It was totally different. Spawn rehearsed everything in the jam room. Retromorphosis was all home studio. I wrote everything on a 7-string Ibanez and recorded demo tracks to build ideas. I used Guitar Pro minimally—some riffs sound terrible in MIDI but amazing with real tone.

Tom: Did any songs start with synth ideas instead of guitar?

Jonas: Just one—“The Machine.” I wrote the organ intro first, then built the riffs around it. Everything else started on guitar.

A Return to Death Metal—After 10 Years Away

Tom: I heard you stopped listening to death metal altogether for a while. Is that true?

Jonas: Yeah, for almost ten years. After Cabinet, I needed a break. I got into classical music and heavy metal. But in 2014, I bought a turntable and started spinning old vinyls again—Morbid Angel, Immolation, Death—and that got me back into the mindset.

Tom: Any new bands inspire you during that rediscovery?

Jonas: A few—Drawn and Quartered, Corpsessed, Sněť. They all have that dark, atmospheric feel without going full tech. I also like Gray Ritual—sadly, I think they’ve broken up.

Signing with Season of Mist and Looking Ahead

Tom: Season of Mist feels like the perfect label for this project. How did that deal come about?

Jonas: Funny story—I originally sent them a demo and didn’t hear back. But later I spoke to Romain from Obsidian Tongue, who had connections there. Eventually, I got in touch directly and sent the full album. Turns out someone at the label had liked it but forgot to pass it along. Once the head of the label heard it, he signed us immediately.

Tech Specs and Creative Choices

Tom: Gear talk—what guitar and amp did you use?

Jonas: A 7-string Ibanez and an ENGL amp—can’t remember the model. We tried a Peavey, but it didn’t have the right tone. The ENGL had that tight, modern edge I wanted without losing the old-school crunch.

Tom: Do you plan your compositions around theory, or is it all ear?

Jonas: Mostly by ear. I know modes and scales, but I don’t write things out in traditional notation. If something sounds haunting or weird, I follow that feeling.

Will Retromorphosis Play Live?

Tom: Any plans for live shows or touring?

Jonas: We’ve talked about it. If the right opportunity comes—like a strong tour or a good festival—we’d love to. But with kids and day jobs, it would need to be planned well in advance and make sense financially.

Looking to the Future: A Trilogy in the Works?

Tom: You’ve hinted that Retromorphosis might be a three-album concept. Is that still the plan?

Jonas: Yes. I already have some ideas and leftover songs. Dennis (vocals) and I have talked about themes for future albums. If the label is interested, we’d love to continue the story.

Final Thoughts

Tom: One last question—why don’t you play solos anymore? You clearly have the skill.

Jonas: I used to! In early Spawn I did solos. But when Christian Muenzner joined, I focused more on rhythm. These days, I like writing lead melodies or harmonies instead. You can still have a distinct guitar voice without shredding.

Listen to “Solus Mortis” – Out Now

Solus Mortis by Retromorphosis is out now on Season of Mist. It’s a dark, atmospheric journey through modern death metal—full of razor-sharp riffs, haunting synths, and chilling melodies. A must-listen for fans of Morbid Angel, Immolation, and early Opeth.

🎧 Available on Bandcamp, Spotify
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📺 Watch the interview below.

Categories: Interviews, Retromorphosis

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