There’s a point where everything collapses at once and you either disappear with it or find some way to keep moving. Invisible Wounds sit right in that split.
The Sweden-based post-punk infused hardcore band, with roots in Fagersta, Örebro and Stockholm, bring together Peter Sehlin (Between Us, TKTK) on vocals, Carl Ekerstam (Hurula) and Simon Follman (Molly’s Gusher) on guitars, Jonas Calander (Hellman & Härden, Rättens Krater) on bass, and Anders Löwgren (Akani, Dead Reprise) on drums. Their debut EP “Dark Visions”, released November 18, 2025, carries the weight of everything that led up to it.
Fans of High Vis, Hurula, Refused, Masshysteri, Modern Life Is War, Touche Amore, Birds in Row should be thrilled.
Back to the EP’s main themes, loss isn’t abstract here. Close friends gone to suicide and overdose. Addiction that didn’t stay in the past. Recovery that didn’t come clean. A brain tumor and the slow way back from that. The band’s origin sits inside that overlap, where none of it waited its turn.
Music became the only space that still made sense. A place to “scrape together the shards” and stay in the same room without everything else crashing in. It was less about starting a band and more about having somewhere to exist together, where communication didn’t fall apart and forward motion felt possible, even briefly.
The EP feels bleak, but that feeling is not stuck there. More like a document of people trying to hold on to each other while things keep slipping.
“Unscathed” opens it with a contradiction that never resolves: “Treading in this ocean unscathed / Self inflicted closed / Still I just want to be saved.” The language circles self-protection and self-destruction at the same time—“Bag, bottle and fist – to resist and to numb the pain”—before landing somewhere harsher: “Just give me harm / Just bring me harm.”
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Peter Sehlin ties that back to something broader than a single moment. “In the deepest corners of our minds, we all carry some form of depression,” he says. “It can feed off itself in a strangely intoxicating way.” The song sits in that loop, where the mind keeps finding evidence that things are worse than they are, pulling itself deeper.
“Dark Visions” follows with Anders Löwgren stepping directly into relapse territory.
“Traumatic dreams on repeat / Another world to defeat,” he writes, chasing the idea of inner peace while everything fractures around it. He describes it as revisiting the moments where he was closest to falling back, and even further—imagining the last minutes of friends who didn’t make it out. “Like that was the only option to find that inner peace.”
The imagery doesn’t soften it. “Into the void – The end complete / Ablaze your desire / Set the world on fire.” It’s not dramatic for effect, it’s just how those thoughts escalate when there’s no way out in sight.
“Healing” shifts direction without pretending things are fixed. Built as a letter to his wife, kids, and everyone he feels he failed, it keeps returning to accountability. “Looking back at the things that I can’t deny / Reflecting on the truths that I can’t defy.” Even in recovery, he points out, there were still bad decisions. The song exists because of that.
Elin Larsson (Blues Pills) joins on vocals, her presence cutting through the weight of it without resolving anything. Lines like “Stay above the ground, gotta fight the fight” don’t read as motivation so much as necessity—something repeated because the alternative is already known.
“Dreamscaper” came together differently, with rhythm and phrasing leading before the words arrived. It drifts into something more abstract, but the core is still there: walking through a dead city at night, thinking about death, about whether anyone would remember you, and how. “Pretty dark,” Löwgren admits. “I must have had a bad day.”
Sehlin’s “Darkness Cuts” traces the same internal spiral from another angle. Written early in the band’s existence, it maps out how depression feeds itself, how easy it is to mistake its logic for clarity. “It is written from a place of complete darkness,” he says, “somewhere I’m thankfully no longer in.”
“Unscathed” also pulls from his own conflicted sense of masculinity—wanting connection, looking for it in the same spaces that kept him distant. “I was searching for connection, yet still distancing myself.” The way out isn’t framed as strength, but the opposite. “These barriers can only be broken down through vulnerability and kindness.”
The EP doesn’t try to clean any of this up. It sits with it. Friendship, creativity, and the act of making music together show up as the only things that kept it from tipping all the way over.
“Dark Visions” was mixed and mastered by Anders Löwgren and Zack Anderson, with artwork by Robert Hurula.
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