At the precipice of extinction we are seated and wrapped in Urðr-woven ceremonial garb, left to observe sermon after sermon as to how the past’d informed our present armageddon via Ljungskile, Sweden-based death/doom metal ritualist RUNEMAGICK who return in singularity with this fourteenth full-length album. The droning tension of ‘Cycle of the Dying Sun (Dawn of Ashen Realms)‘ is no less uncanny in reveal despite how familiar it should be to the long-standing fan as the now solo act’s signature is loud and and immediate from the outset. What develops within the album’s potentially hourlong, slow-pulling thread is expectedly surreal, rewarding of the patient extreme doom metal ear most concerned with both presence and rhythmic knack.

The history of Runemagick is essentially the impetus of Nicklas Rudolfsson‘s (The Funeral Orchestra, ex-Sacramentum, et al.) impact upon Swedish extreme metal tracing back to the early 90’s where a series of demos would see linkage with fellowes known for Deathwitch, Decameron and Dissection soon after, eventually pairing up with guitarist Fredrik Johnsson for the band’s legendary three album transition from black/death metal to pure death metal and death/doom beyond. In access of extreme doom metal a paradigm shift occurred in their early 2000’s work wherein inspiration must’ve been taken from drone/doom and experimental music in general as they’d introduce ritualistic pacing and rhythmic dissonance. Since I’ve covered the history of the band’s now fourteen full-length discography in depth in prior reviews, the latest being their previous LP (‘Beyond the Cenotaph of Mankind, 2023), it’ll be enough to suggest that their focus hasn’t been static and represents bold yet methodical exploration with several projects/bands arisen from different breakthroughs along the way.

Since reforming in 2017 after a decade-long hiatus Runemagick produced three LPs more-or-less as a quartet reviving their psychedelic and experimental doom-shaped vision of death metal within notably different results as a new characterization of the band developed. This fourth record beyond reformation changes things up in a few key ways: First this album is not only the singular vision of Rudolfsson but he is the primary author, producer and performer (vocals, guitars, bass, synth, drums) beyond two guest vocalists, a dulcimer player, and mixing/mastering from the brilliant Andy La Rocque at Sonic Train Studios. Second the suggested render is intentionally stripped down to a raw yet broadly resonant sound which places the main rhythm guitar interest and vocals with equal urgency, consisting of the album’s major leading voice in the way that the more homebrewed darkness of Heavydeath also persisted. Otherwise I’d consider this record is technically a concept album in that its lyrics have assigned and related meaning, a post-apocalyptic theme where Norn-spun fate and a prophesied solar death set the listener sauntering through a seeming predestined cataclysmic end.

There are two ways one can receive ‘Cycle of the Dying Sun (Dawn of Ashen Realms)‘ depending on which format is chosen and in some ways this slightly alters the remarks I’d include in review, so, if you purchase the vinyl edition and sidestep the digital and/or CD versions you’ll miss out on an additional four tracks or ~23 minutes included within the full 68 minute run of the album. This is somewhat similar in effect to the extended versions of ‘Into Desolate Realms‘ (2019) which’d included an additional third act via the inclusion of a related EP. In this case these additional pieces appear designed as leftovers, or, a suitable final act per the suggested narrative exploration. From my point of view the greater arc appears mostly complete via the first six songs included and in terms of the listening experience only “Spires of the Drowned Horizon” feels essential in addition.

The nearly eleven minute opener “Wyrd Unwoven” envisions fate being awakened, woven by the mistresses of runic magic as the artist describes the song as the first breath taken before a path is written. What this means for the listener is a dirging, oaken sledge of Runemagick‘s signature form of death/doom metal in their slow-motion ‘To Mega Therion‘ format which marries Candlemass-esque transitions with milling dissonance and eerily merging dual-rhythmic harmonization. It is a fine example of this band’s post-millennial discography carrying some additional appeal to folks attuned to harsher psychedelic doom/sludge at its hardest kicked swagger. A few dabs of glowing synth at the very end showcase how minimally applied much of the accoutrement and dressing ‘Cycle of the Dying Sun (Dawn of Ashen Realms)‘ carries within, though this isn’t yet the full story revealed.

“Old Bones” is initially one of the more unexpected pieces for the sake of its introduction building a solemn rhythmic tonality before jabbing at ‘new old school’ death metal bullied riffs (echoed on “Womb of the Veiled Sun” as well) which are mere entry point for a deeper arcing dissonant thread, a compelling step beyond the rolling and roaring atmospheric tension Runemagick are known for. What we find digging through the ashen field of this piece includes acoustic guitar interjections and a guest vocal spot from Lussidotter, additional details which offer ear-catching breaks from the droning simplicity of their initial approach otherwise (see also: the end of “The Hollow Chant of the Seer”). You’ll notice a pattern of these elements generally left for the final moments of the first few songs each providing context, perhaps even characterization of the events of the album’s path.

If you are big enough a fan of Runemagick I figure you might’ve tested your mettle on Rudolfsson‘s abstract, ritualistic doom project Heavydeath and while I wouldn’t draw such a direct line from those countless demos/albums toward say, “The Runestone’s Lament”, the effect is very similar. Part of this sensation comes from the immediacy and likely methodology of the ‘Cycle of the Dying Sun (Dawn of Ashen Realms)‘ being similar, presenting its riffcraft in stark position and enforcing the rumble available to their guitar tone within a cold, dead space. It was the piece that’d had me appreciating the atmosphere of the record most up front, at any rate; The aforementioned “Womb of the Veiled Sun” keys into some of the same energies found on “Old Bones” where a blackened hand curls the introductory riff but a death metal centered groove is the destination and a forward-ebbing tension is the directive. The album continues to find its way through equally gnarled steps but for my taste the major impact of this record arrives within those first ~45 minutes or so.

The bigger picture is best developed through patient non-observance. Though Runemagick developed their voice within the peaking compositional intensity of the 90’s their newer material has always benefitted from both engaged and disengaged states of listening which help to identify the ripples that run throughout a typically complete envision, which ‘Cycle of the Dying Sun (Dawn of Ashen Realms)‘ largely achieves. The resultant experience echoes psychedelia more than it does crushed-through death metal, stepping away from some of the more involved death metal bolsters found on the two albums prior and instead embracing the lingering, ever ominously hanging hand of doom. Meeting the artist’s vision at his own specific rhythmic torse and pace most often resembled a quieting meditation rather than headbanging alone sort of affair, adding to its overall repeatable appeal with some familiarity despite not feeling as riff-heavy as their last few. A very high recommendation.

---