There are records that feel constructed, and then there are records that feel uncovered as if they had always existed, waiting for the right moment to surface. October is Rising, the debut album from Mirror of My Soul, belongs firmly to the latter – it has a classy retro feel to it, yet completely fresh and intriguing. The solo project of Patrik Andersson Winberg (Dun Ringill, ex-The Order of Israfel, Doomdogs), Mirror of My Soul steps away from the constraints of band dynamics and into something far more personal and fluid. Built on the foundations of singer-songwriter storytelling, the album carries the emotional power of gothic and hard rock, not through imitation, but through atmosphere and intensity. For me, there’s an added bonus of having a classic early 70’s retro feel to the overall mix – this is seriously great stuff – and so unexpected!
What began five years ago as a need to express something more intimate gradually evolved into a fully realized work shaped by patience, instinct, and collaboration. Letting go of limited structures and expectations, Winberg allowed the songs to unfold organically, guided by emotion rather than genre. The result is an album that moves freely between light and shadow, strength and vulnerability, never settling into one space for too long.
“There was a point where I just had to trust the idea and follow it wherever it led,” Winberg reflects. “These songs come from a very personal place, they carry both joy and darkness, and everything in between.”
Sonically, October is Rising draws from a rich palette of influences, echoing the stark storytelling of Nick Cave, the timeless gravitas of Johnny Cash, and the haunting atmospheres of Fields of the Nephilim. Yet it never feels derivative. It’s by turns sparse, evocative, richly cinematic and always so melodious, with moments that feel as intimate as a whispered confession and others that expand into something far more expansive and spectral.
While the project is deeply personal, it is far from solitary. A wide range of collaborators helped bring these songs to life, each adding their own distinct touch – and that’s the genius of this record, the rich tapestry of changing moods from track to track. Among them are drummers Pete Campbell (Axe Dragger, ex-Pentagram), Tobbe Strandvik (ex-Kamchatka), guitarist Patric Grammann (Dun Ringill), and keyboardist Per Wiberg (Spiritual Beggars, ex-Opeth, Tiamat), whose contribution to the title track adds a subtle but powerful layer of depth.
The album also features an extensive and carefully curated cast of vocalists, each bringing a distinct character to the songs. From the commanding presence of Terry Slesser (Beckett, Backstreet Crawler, Geordie) on the title track, to performances by Richard Reynolds (Lunar Tantrum), Andy Campbell (Rust Bucket), Damon Collum (ex-Don Darlings), Philip Lindgren (ex-Hypnos), and Niklas Sjöberg (Graviators), the record unfolds as a series of shifting perspectives rather than a single fixed voice.
Additional contributions from Lovisa, Songdog, Tobias Jansson (Saffire, Gathering of Kings), Niklas Börjesson (ex-Lotus), Tony Jelenchovich (Transport League, ex-M.A.N), and others further expand the album’s emotional and tonal range. Despite this diversity, the record never loses its coherence, with each guest performance serving the song rather than overpowering it.
Anchoring it all is Patrik Andersson Winberg himself, who handles bass, keyboards, and a wide range of instrumentation throughout, ensuring a consistent sonic identity across the album’s many moving parts.
The show opens appropriately enough, with The One Who Sings The Songs, it has a jaunty up-beat rhythm and a vocalist who imparts a beautifully deep melodious note to the proceedings. I’m surprised at the “radio-friendliness” of this one. As mentioned above, October is Rising features Terry Slesser on vocals, a sparse arrangement exploring seasonal moods and changes – the gentle blend of piano and guitar is just lovely – I’m already hooked before the exquisite solo and backing band come in mid-way through. This one has a real feel of the early 70’s about it, along the lines of my all-time heroes Help Yourself – one of the best complements I can ever make!
Carry Your Soul continues this same style of a sparse arrangement that gets beefed up in all the right places – I’m captivated by Patrik’s compositional dexterity, it’s completely unexpected (to me) and so much more impactive as a result! A Good Day to Die is pure Nick Cave, superlative vocal casting makes this another high-point of an already high-class set of songs.
Mina Fotavtryck again takes me back into that early 70’s vibe, soulful with added flute, Cat Stevens springs to mind! No idea what the song is about, being sung entirely in Swedish. It morphs briefly into a Jethro Tull-like middle section….next is Lost In The Red Wine, a more meaty number perfectly and gruffly projected by another singer, topped off with some tasty organ and guitar licks. Grandpa maintains that moody guitar tone, gorgeously floaty vocals from yet another stellar singer, topped with some dreamy guitar work – the sheer variety of mood, vocals, instrumentation and mix ensures that you’re hooked on each and every note throughout this album – a genuine work of art.
Coyote starts off gently pacey with more delicious guitar notes underpinning yet another great vocal performance by persons unknown – methinks I’ll have to buy this just to find out who-does-what, track-by-track! This is the longest, and most “rocky” track so far, a hypnotically driving number that I for one can’t keep still to. Tree on That Hill takes us back into a simple, “Swedish country rock” vibe, followed by The Letter which is a tasty slab of Southern rock, complete with heavyweight slide guitar. Again, the change of mood and mix is captivating! It’s a great riff, straight out of the Lynyrd Skynyrd Guide To Rock!
Dancing Slowly on the Porch, naturally enough, takes us back into country-rock territory, a bluesy number with a big sense of Johnny Cash about it. The Owl continues that rustic “open plain” feel, banjo taking the lead in a slow waltz. Not the strongest track but a sterling band performance nonetheless. The album is brought to a close with The Painter, more banjo introducing a slow but luscious number that again has that distinct Nick Cave vibe about it – the lyrics and tuneful arrangement reveal a real talent at work.
A fascinating, totally absorbing collection of songs – I didn’t really know what to expect from this album, but the range of voices and quality of the playing is a real breath of fresh Swedish air – well done Mr Winberg and friends! Now out via Majestic Mountain Records, the album is ready to find its audience, freely, openly, and without compromise, I suggest you go find it for yourselves!
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