The Dead And Living: Swedish Goth Rockers’ Journey from ‘Decadence’ to ‘Damage’

For nearly two decades, The Dead And Living have carved out a unique presence in Sweden’s alternative music scene, a band as theatrical as they are elusive. From their early days of corpse paint and gothic pageantry to their evolution into more expansive, genre-defying compositions, they have cultivated a dedicated following drawn to their storytelling and refusal to conform. Yet, for the past five years, they have been conspicuously absent, their once-dominant presence fading into silence.

That silence was broken on February 28, 2025, with the release of ‘Damage,’ their first new music since 2019’s critically praised ‘The Author’s Curse.’ More than a mere return, the four-track EP, released through Rexius Records, signals a dramatic shift in the band’s creative direction. Moving beyond the Victorian gothic imagery that once defined them, ‘Damage’ ventures into uncharted territory, weaving cosmic themes, cinematic synth textures, and a sweeping sense of existential depth into their evolving sound.

After years of uncertainty—marked by a halted momentum due to the pandemic, economic setbacks that delayed their latest release, and changes within their lineup—The Dead And Living have returned with a newfound sense of purpose. Their resurgence is not just a reintroduction, but a reinvention.

Origins and Evolution: The Journey of The Dead And Living

In the winter of 2007, in the Swedish city of Karlstad, The Dead And Living emerged from the underground with a dramatic and highly stylized approach to rock music. Founded by vocalist Coroner and guitarist Janitor—both entrenched in the local punk scene—the band was conceived in a late-night moment of inspiration, driven by a desire to fuse the rowdy energy of Irish pub-punk with the dark, atmospheric weight of black and death metal.

From the beginning, the band embraced a macabre aesthetic, adopting pseudonymous stage names—Coroner, Janitor, Gravedigger on bass, and Vincent on drums—while appearing in corpse paint and all-black attire. Their early performances were an exercise in gothic minimalism, with the musicians standing eerily motionless, evoking the presence of spectral figures. However, the calculated detachment fell flat with audiences, leading the band to abandon the concept in favor of a more visceral and immersive live experience.

Drawing from a wide array of influences, The Dead And Living developed a sound that resists easy categorization. Their sonic roots are grounded in the raw, unrefined energy of bands like The Clash and The Misfits, yet their music is also enriched with the grandiose, symphonic intensity typical of extreme metal acts such as Dimmu Borgir and Septicflesh. In their early years, the band’s aesthetic was heavily influenced by the gothic decadence of nineteenth-century London, imbuing their music with a theatrical, almost literary quality.

As their music evolved, so too did their identity. By the mid-2010s, the band had moved past their Victorian-inspired aesthetic, adopting heavier guitar tunings and a broader, more expansive sound. This change was not just sonic but ideological—driven by a refusal to stagnate, as frontman Coroner described it, which became a central tenet of their creative process. The departure of longtime co-founder Janitor before the release of ‘Damage’ marked a significant turning point, leading to a refreshed lineup that introduced new guitarist Lord (Jonas Åsman), joining existing members Salem (Martin Grönert) on guitar, Gravedigger on bass, and Vincent on drums.

Their journey has been marked by both personal and professional hardships, including the heartbreaking loss of loved ones and the life-changing experience of band members becoming fathers during the isolation of the pandemic. Despite these challenges, The Dead And Living have emerged stronger, with a clearer vision and a continued, unbroken bond with their audience.

‘Damage’ Sets a Haunting Tone

Over the years, The Dead And Living’s sound has evolved from the gothic decay of their early work to the cosmic nihilism of ‘Damage.’ While they once embraced Victorian-inspired aesthetics, ‘Damage’ marks a bold departure, introducing celestial themes and a cinematic quality that broadens their musical palette. Despite this shift, their core remains unchanged—darkly evocative storytelling, theatrical grandeur, and a commitment to challenge both themselves and their audience.

Their 2010 debut, ‘Decadance,’ presented a unique fusion of goth, punk, and folk-influenced rock. Tracks like ‘Dance With The Dead’ and ‘Mayday, Mayday’ combined energetic rhythms with a cabaret-inspired flair, laying the groundwork for the band’s theatrical persona. The album was met with strong praise from the Scandinavian rock press, earning recognition from outlets such as Close-Up and Sweden Rock Magazine as one of the year’s top releases.

In 2013, ‘The Last Men Standing’ built upon the foundation of their debut, refining their signature “decadent gothic punk” style. The album’s anthemic choruses and apocalyptic themes solidified the band’s cult status, complemented by their theatrical live performances and a darkly comedic sensibility. By this stage, The Dead And Living were recognized not only for their recorded music but also for the immersive, sometimes eccentric world they crafted around it.

The release of ‘Singles Collection 2014’ marked the conclusion of the band’s first creative phase, bringing together standalone tracks and experimental material. It also signaled a shift in their sonic direction—by late 2014, the band had down-tuned their guitars from drop D to C standard, adding a heavier, more ominous tone to their sound. This change set the stage for their next full-length project.

Their 2019 album, ‘The Author’s Curse,’ marked a creative peak and a tribute to their dedicated fanbase. Funded in less than 24 hours through crowdfunding, the record featured a rich, gothic rock sound and received widespread acclaim, even topping Sweden’s Kritikertoppen review aggregator. However, its momentum was stifled by unfortunate timing. Released as the COVID-19 pandemic began to spread, the album’s accompanying tour was swiftly canceled, leading the band into an unforeseen period of silence.

Shifting Sounds: The Cosmic Nihilism

After a five-year hiatus, The Dead And Living returned in 2025 with ‘Damage,’ a four-track EP that signals a dramatic shift in both theme and sound for the band.

Beyond the studio, The Dead And Living have established a powerful reputation as a live act, captivating audiences across Scandinavia and Europe with their dark, theatrical energy. In the 2010s, they performed at major festivals such as Sweden Rock Festival and Arvikafestivalen, sharing stages with industrial and punk legends like Deathstars, Chrome Division, and Marky Ramone’s Blitzkrieg. Whether playing in intimate venues or on expansive festival stages, their live performances solidified their place in the Nordic alternative music scene.

After their pandemic-induced hiatus, the band’s absence only intensified the anticipation among their dedicated fanbase. As rumors of new material spread, so did the excitement surrounding their return. ‘Damage’ is not merely an EP; it serves as a reintroduction, a reinvention, and potentially the beginning of an ambitious new chapter in the band’s evolving journey.

Reinventing Themselves: The Bold Rebirth of ‘Damage’

With ‘Damage,’ their first new release in over five years, The Dead And Living return not just to reclaim their place in Sweden’s gothic rock scene, but to reshape it. Released on February 28, 2025, via Rexius Records, the four-track EP marks a significant departure in both sound and concept. Far from being a mere continuation of their previous work, ‘Damage’ explores new thematic ground, delving into cosmic existentialism while expanding the band’s sonic horizons.

The EP’s creation began during the pandemic, a time of enforced stillness that unexpectedly became a catalyst for creativity. Vocalist Coroner and guitarist Salem took on much of the recording and production at the band’s own studio, Dead HQ, working alongside producer Andreas Mood to perfect the final mix. Mood’s influence is clear—his atmospheric approach adds an ethereal layer previously absent in the band’s sound. The drums, recorded separately at Leon Music Studios with engineer Gustav Ydenius, provide a commanding depth to the expansive soundscapes. One of ‘Damage’’s most distinctive features is its choral-style backing vocals, provided by Die Kinder der Toten Sonne (“The Children of the Dead Sun”), which imbue the tracks with an eerie, otherworldly resonance.

A New Conceptual Era for The Dead And Living

For a band that once reveled in the decadent imagery of nineteenth-century gothic fiction, ‘Damage’ marks a bold thematic shift. The candlelit parlors and haunted manors are replaced by the vast, indifferent expanse of the universe. Coroner has explained that the inspiration for the album came during the lockdown, particularly after viewing ‘A Journey to the End of Time,’ a YouTube film by Melodysheep that explores the ultimate fate of the cosmos. The film’s haunting closing line—“At the end of the universe, nothing happens, and it keeps not happening, forever”—made a lasting impact on him, sparking the existential themes that define ‘Damage.’

“What would The Dead And Living be like in space?” Coroner later mused, framing ‘Damage’ as an exploration of the band’s essence set against a backdrop that is both expansive and existentially disquieting. The result is an album that, while retaining the band’s gothic rock foundation, introduces a sense of celestial weightlessness—stripping their sound of gravity, as if the very concept of earthly constraints has been undone.

Musical Evolution: The Cinematic Depth

Musically, ‘Damage’ expands The Dead And Living’s signature style with a cinematic depth. The title track opens with ethereal synth swells and a gradual build, anchored by Coroner’s deep, haunting vocals. The dynamic interplay between male and female voices—an integral feature of the EP—enhances its spectral grandeur. One critic described the song’s soaring chorus as “sheer Gothic magnificence,” with harmonies that evoke an almost operatic sense of drama.

The second track, ‘Magma Heart,’ shifts the mood with a pulsing, synth-driven melody, its hypnotic rhythm carrying lyrics that contemplate humanity’s tenuous position in the vastness of the cosmos. Coroner describes the song as a hymn to Earth, capturing both the planet’s beauty and its inherent violence, set against the cold, indifferent expanse of space.

If ‘Magma Heart’ serves as a quiet contemplation, ‘Demons Till I’m Dead’ is its fiery counterpart. The most anthemic track on the EP, it pairs a relentless gothic rock riff with an urgent, almost desperate chorus. Thematically, it shifts from cosmic musings back to human struggles, reminding us that our battles—both internal and external—are firmly rooted in this world. The male-female vocal interplay reaches its peak here, culminating in a dramatic finale, enhanced by orchestral strings.

Closing the EP, ‘Army of Mankind’ unfolds as a slow-burning dirge, driven by militaristic drum patterns and a pervasive sense of foreboding. The track envisions humanity engaged in a futile battle against the encroaching void—an existential struggle, as Coroner explains, not rooted in literal warfare but in the unstoppable advance of forces beyond human control.

Critical Reception: A Triumphant Return

After a five-year silence, ‘Damage’ arrived to a highly eager audience. The pre-release singles—’Damage,’ ‘Demons Till I’m Dead,’ and ‘Magma Heart’—sparked excitement among long-time fans, marking the band’s first new material in years. Coroner observed a sharp rise in streaming numbers upon the EP’s release, with engagement increasing exponentially—clear evidence of pent-up demand from their dedicated following.

Critically, ‘Damage’ has received widespread acclaim. Ghost Cult Magazine declared the EP as a “triumphant return” for the band, lauding their ability to evolve while staying true to their gothic roots. Ever-Metal.com awarded the release an 8/10, emphasizing its “atmospheric depth” and the “pleasure-center impact” of its dynamic vocal interplay. Some have even drawn comparisons to the experimental textures of David Bowie’s ‘Low’ era, while others have likened the EP’s grandeur to the expansive sound of Sisters of Mercy at their peak.

Although some longtime fans were initially taken aback by the shift in aesthetic—from opulent gothic decay to cosmic nihilism—the response has been overwhelmingly positive. Many have welcomed the band’s refusal to revisit familiar themes, seeing ‘Damage’ as a bold progression rather than a departure from their roots.

With ‘Damage,’ The Dead And Living have not only returned but redefined their sound. Their ability to evolve—while preserving the drama, intensity, and raw emotion that initially captivated their audience—proves that even after years of silence, they continue to be a formidable presence in gothic rock, and if ‘Damage’ is any indication of what is to come, The Dead And Living may not just be back—they could be on the verge of their most compelling chapter yet.

On Stage Again: Return to Touring

After a five-year hiatus, The Dead And Living have rekindled their connection with audiences, beginning with an eagerly anticipated performance in Karlstad, Sweden, on March 15, 2025. The hometown show at Nöjesfabriken, marking the release of their new EP ‘Damage,’ is their first live appearance since 2019. This concert has generated significant buzz among long-time fans, with pre-sale tickets selling out quickly, highlighting the band’s sustained popularity despite their absence from the stage.

Following this comeback performance, The Dead And Living are set to appear at Subkultfestivalen 2025, held in Vänersborg, Sweden, later in the summer, where they will share the stage with other alternative and industrial acts. The festival, which takes place from June 26–28, will showcase the band’s newly evolved sound to a broader European audience.

The band has expressed excitement about returning to a full live touring cycle, with frontman Coroner emphasizing the significance of reconnecting with fans and performing new material. “We are not just picking up where we left off, we are building something new,” Coroner remarked in a recent interview. Their setlist is expected to feature tracks from ‘Damage,’ alongside some of their older material, reimagined with the band’s fresh approach.

While further international dates are still being finalized, Coroner has expressed hopes for a wider European tour, with potential stops in Iceland, Norway, and the United Kingdom in the near future. The band’s reinvigorated lineup, featuring Lord (guitar) alongside Salem (guitar), Gravedigger (bass), and Vincent (drums), is set to bring a dynamic energy to their performances, promising an immersive experience for their audiences.

These upcoming live performances represent not only a physical return to the stage but a symbolic one, affirming The Dead And Living’s place in the ever-evolving landscape of gothic rock. Their return to touring will undoubtedly be a defining moment in their revival, as the band embraces the opportunities to showcase their newly crafted sound and engage with an audience eager for their next chapter.

Lasting Influence on Sweden’s Alternative Scene

Within Sweden’s alternative music scene, The Dead And Living have established a unique, if underground, presence—defined by theatricality, a genre-blending style, and a devoted cult following. Early in their career, the band captured the attention of the Scandinavian rock press, with their debut album ‘Decadance’ (2010) and its follow-up ‘The Last Men Standing’ (2013) earning significant praise from major outlets such as Close-Up Magazine and Sweden Rock Magazine. Both albums were heralded as some of the year’s most noteworthy releases, solidifying the band as one of Sweden’s most intriguing alternative rock acts.

The Dead And Living stand out in a landscape dominated by melodic metal and indie pop, blending punk’s raw energy, gothic rock’s dark grandeur, and occasional folk influences. This hybrid approach has not only resonated with Swedish audiences but also attracted attention from international music media, particularly within the goth and industrial rock scenes. Publications such as Belgium’s Side-Line Magazine and the United Kingdom’s Ghost Cult have closely followed the band’s journey, highlighting their ability to transcend regional boundaries and cultivate a global following.

A Band Sustained by Devotion, Not Charts

While The Dead And Living have never been mainstream chart-toppers, their impact is better measured by the unwavering loyalty of their fans. This devotion was perhaps most evident in 2019, when the band launched a crowdfunding campaign for ‘The Author’s Curse,’ which reached its funding goal in under 24 hours. The album’s subsequent critical success—briefly topping Sweden’s aggregate review site Kritikertoppen—further solidified their reputation as a band whose influence extends well beyond radio play or commercial rankings.

While their sales figures remain modest, The Dead And Living’s ability to sell out intimate venues and secure spots at major festivals speaks to the strength of their following. Over the years, they have shared stages with industrial-metal and punk icons such as Deathstars, Chrome Division, and Marky Ramone’s Blitzkrieg, further cementing their credibility in the alternative scene. Their live shows—equal parts theatrical and intense—have only solidified their reputation as a must-see act within the Nordic rock circuit.

Beyond their own success, The Dead And Living have quietly influenced Sweden’s alternative music scene, showing that a band can thrive outside the traditional structures of the industry. Their theatrical, genre-blending style has paved the way for younger bands to explore similar sonic and visual aesthetics. More importantly, their ability to harness fan support and adopt independent production models has proven that operating outside major label frameworks is not only possible but sustainable. Their collaboration with Gothenburg-based Rexius Records for ‘Damage’ underscores their continued appeal, as indie labels recognize the band’s power to engage and mobilize their dedicated audience.

With a growing discography that now includes three albums and two EPs, The Dead And Living have established themselves as more than just a band—they are a cult entity, merging the rebellious spirit of punk with the grandeur of gothic rock. Their lasting appeal is not rooted in mass-market success, but in their ability to evolve, surprise, and, above all, maintain the unwavering devotion of those drawn to the haunting world they so expertly create.

A Band That Blurs the Line Between Macabre and Theatricality

Few bands strike the balance between spectacle and substance as effectively as The Dead And Living. Since their inception, the Swedish gothic rock band has been as much a performance troupe as a musical act, blending eerie theatrics with a sharp sense of self-awareness. Their image, rich with dark humor and gothic excess, channels the horror-punk bravado of The Misfits while drawing on the corpse-painted intensity and theatricality of black metal.

Each member’s pseudonymous title—Coroner, Janitor, Gravedigger, Vincent—creates a cast of characters reminiscent of a lost Hammer Horror film, underscoring the band’s obsession with death, sin, and the grandeur of decay. Even their name, The Dead And Living, evokes a tension between the macabre and the vital, a duality mirrored in their music. In their early performances, they experimented with a static stage presence, standing motionless in dim light to embody spectral figures rather than active performers. However, this approach failed to captivate audiences and was quickly abandoned.

They soon embraced a more dynamic, immersive style. Coroner, with his commanding baritone vocals and theatrical presence, prowls the stage in face paint, while the band behind him creates tightly controlled chaos, fusing punk energy with cabaret-inspired theatrics. Their live performances have become known for their morbid yet wry humor—evident in moments like Coroner’s remark after co-founder Janitor’s departure: “The Janitor left, so no wonder things were out of order for a while.” It is this self-aware irreverence that has endeared them to fans, offering a gothic experience that never takes itself too seriously.

Overcoming Setbacks and Reinventing Themselves

Unlike many bands that attract attention through controversy, The Dead And Living’s most significant challenges have arisen from external circumstances, rather than internal conflicts or controversies. The COVID-19 pandemic hit just as their critically acclaimed ‘The Author’s Curse’ was gaining traction, forcing an abrupt halt to their touring plans. As they prepared to return, economic inflation disrupted the release of their highly anticipated EP ‘Damage.’ The band faced additional setbacks when the pressing plant responsible for the vinyl edition went bankrupt, further delaying the EP’s release.

Rather than retreat, The Dead And Living used this forced hiatus as a chance to reinvent themselves. The addition of a new guitarist—nicknamed Lord—brought fresh creative energy, helping to push ‘Damage’ to completion. By the end of 2024, the band was teasing new material, and in early 2025, they celebrated the release of ‘Damage’ with a hometown launch party in Karlstad. With live music once again on the horizon, they have expressed enthusiasm about returning to the stage, eager to pick up where they left off in 2019.

The departure of longtime co-founder Janitor before the release of ‘Damage’ marked a significant turning point, leading to a refreshed lineup. The introduction of new guitarist Lord (Jonas Åsman) injected fresh creative energy into the band, helping propel the creation of ‘Damage’ and bringing a new dynamic to their sound. This shift in lineup, while marking a significant change, also highlighted The Dead And Living’s commitment to reinvention.

A Band Unbound by Genre or Expectation

If there is one defining trait that has carried The Dead And Living through setbacks, reinventions, and industry changes, it is their refusal to stagnate. As Coroner has stated, each release is designed to challenge not only the audience but also the band itself—driving them to push their artistic boundaries rather than fall back on formulaic comfort. With ‘Damage’ receiving a strong reception, the band seems revitalized and ready for the next chapter in their evolution.

Looking ahead, The Dead And Living have hinted at expanding their back catalog with vinyl releases, ensuring that their previous work remains accessible to both longtime fans and new listeners. However, beyond these distribution plans, their focus remains firmly on creative evolution. Whether their gothic universe is cast in the candlelit tones of nineteenth-century decadence or set against the infinite expanse of space, The Dead And Living continue to craft new narratives that both intrigue and unsettle, captivating their audience with each new chapter.

Conclusion

With ‘Damage,’ The Dead And Living have defied expectations, demonstrating that artistic evolution does not have to come at the cost of identity. While their aesthetic has shifted—from candlelit decadence to cosmic nihilism—their core essence remains unchanged: darkly evocative storytelling, theatrical grandeur, and an unwavering commitment to challenge both themselves and their audience.

What lies ahead is still unclear, but the band has hinted at plans to expand their back catalog with vinyl reissues, alongside teasing new material that may push their sound beyond the traditional confines of gothic rock. If ‘Damage’ is any indication, The Dead And Living are no longer a band anchored in the past, bound by the ghosts of their former selves. They are a band in motion—moving forward into uncharted territory, unafraid of the darkness ahead.