Register Forgot login?

© 2002-2014
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Another brick in the wall? - 80%

VickonomyOfTheVoid, November 3rd, 2010

"Requiem Of The Apocalypse" is not a flawless album neither is it Runemagick's finest. It is a bunch of good songs that is a continuing testament of greatness to the mighty but often unremembered Swedish Death/Doom metallers. It would be a fine place to start if you've never heard anything from the band before or don't have the time to explore them fully (your loss, by the way!)


Like I stated earlier, this album isn't a shining beacon on Runemagick's discography nor does it represent a drastic change of style like "Darkness Death Doom" did. It is worth owning though, for songs like "On Chariots To Hades" which opens with this mega apocalyptic riff before Terror Rudolfsson's almighty growl leaps out at you. A melodic riff full of ominous intent follows before a heavily muted pattern over which Terror chants darkly. The guitar solo is one of their best. Its arrival is so unexpected due to the tightly governed riffing. Had it appeared on a lead heavy track, it would sound rather bland, but here it shines furiously.
"One Road To Megiddo" has an ultra groovy riff that wonderfully clashes with the skittery melodies underneath. It is a chaotic beauty, to write the least!


"Bells of Death" pleases with its doom-darkened atmosphere. A grand riff distantly similar to the one on Dio's "Strange Highways" song starts things off before drummer Daniel "Mojjo" Moilanen pounds in and steals the show. He shifts the tempo rapidly but never falters. Terror's vocals are absolutely awesome here. He reminds me so much of Immolation's Ross Dolan but with a clearer intonation. "Memorandum Melancholia" delves briefly into harmony guitar melodyland before taking off to faster riffage. Mid song, it gets ambient and the tempo drops. The song's mega dynamics are what make it work. And while the title track isn't really much to write home about,"The Secret Alliance" presents an interesting change. It sounds genuinely mystical with clean vocals and the very Novembers Doom riffing.


Runemagick have tirelessly put out superbly crafted material and while this isn't their biggest trophy on the shelf, it should nevertheless be treasured for its singular quality: the fact that it IS a great record!

The end of Runemagick's middle era - 87%

joncheetham88, November 22nd, 2009

Having held a bloodied, tattered flag for the old school of Swedish death metal well past its glory days and through the late '90s, Runemagick began the 21st century with a trilogy of albums that chronicled their progression into ever more doomlike waters. Resurrection in Blood, Moon of the Chaos Eclipse and this beast, Requiem of the Apocalypse, all had terrible album covers but were absolutely monstrous - not least this one, released only a few months after its predecessor, and the final album of what the band call their "middle era."

While its predecessor had shown strong hints of a gloomier, murkier direction, RotA sees Runemagick barely maintaining a death metal vibe through the eruptive double-kick led riffs that frame lengthy sections of sludgy, eloganted groove. 'Temple of Skin' is analogous to the entire album, with its middle section comprised of reverberating, tuned-down-to-Hades riffs, yet opening with explosive death metal rhythms and featuring a face-numbing, testicle-melting solo. Meanwhile 'Beyond Life' uses blaring, black metal tremolo riffs transitioning to Bloodbath-like noodling leads. 'One Road to Megiddo' and 'Funeral Caravan' exploit catchy, melodic breakdowns that would sound like At the Gates were it not for the infinitely heavier bottom end. The latter features one of the most showy and fret-punishing guitar solos in the Runemagick pantheon. Still firmly rooted in Swedish traditions, Runemagick were moving toward far grislier territory, but this album provides a snapshot of that progression.

The three band members play an equal part forging a dark and deathly sound. While Nicklas Rudolfsson breaks off one churning riff or baleful doom-like lead after another, Mojjo Moilanen and Emma Rudolfsson provide a powerful rhythm section that is the album's strongest connection to the band's former sound. The extensive use of otherworldly synths to create the mood was already becoming a part of Runemagick's fearsome apothecary; not only does the album begin with an instrumental dedicated to these effects, but some of the vicious chugging sections are overlaid with submarine-sounding keyboard patterns that increase the suffocating atmosphere. However, even at this early and formative stage in the Rudolfsson clan's Moilanen-assisted excursions into doom, tracks like 'On Chariots to Hades' create a creeping and ghostly vibe with the use of the guitar quite ably. This song uses a semi-classical, whining guitar lead most reminiscent of Depravity's classic 'Sleepy Ocean', though sounding possibly even more evil. Meanwhile the layered riffs of 'Fields of No Life' begin to mark them as an increasingly studio-based band. Everything was coming into place for the next era - or the common era, as we peons of the 21st century have called it.

The transitional nature of the album harms it somewhat; the band's most convincing death metal albums were behind them, and the following year they were to release their best album, Darkness Death Doom, as their first full foray into doom. On its own merits RotA is still an exceptional album that would maul the fuck out of most death/ doom or pure death metal released in 2002, and it makes a worthy addition to any latter-day Runemagick record collection. Since the band only send out less than a thousand of most of their albums, you won't be finding these middle-current era discs cheap (as in, for less than a tenner) so your priority is to buy the album after this and work forward to On Funeral Wings and then back to this. Then you can do what the fuck you want.

(http://baileysmmcreamy.blogspot.com/)