Review by Nathan on March 27, 2020.

20 Buck Spin has become the de facto label nowadays for death/doom; i.e. bands that were too slow for Dark Descent. It wasn't always that way - remember that Liturgy was on this label's roster at one point, but I'm assuming the rousing success of Tomb Mold inspired them to jump right on the bandwagon, as is evidenced by bands like Superstition, Cerebral Rot and Witch Vomit. For an aficionado of the style, this label is likely a treasure trove, but for those of us that prefer death/doom on select occasions the bands start to blur together after a while.

Solothus has the benefit of having a couple albums already under their belt, allowing them to define their style and identity more thoroughly. Unlike a good chunk of 20BS bands that are all about the bouncy caveman riffs, Realm of Ash and Blood is a pensive, desolate affair, emphasizing doom over death. By definition it is lurching, repetitive and consistently ominous in its execution. Upon first listen it can be hard to gauge what Solothus has going for them over other bands, but as time goes on there's a melancholic sense of melody that brings itself to the surface. A common route for bands in this genre to go is to cake the songs in filth, but there's a clarity to the harmonized riffs on this album that could only have been cooked up by some sad, lonely Finns.

Even with the occasional forays into more inviting guitarwork, Realm of Ash and Blood retains its heaviness and airtight atmosphere. The warm, dry riff bed steadily pulsates as a more delicate but equally tense guitar line circles overtop. The dynamics are subtle, and aside from the brief break that 'Last Breath' provides, most of the respite comes from the leads and solos. The opening of the final track, 'A Rain of Ash', is the only thing on this album that I would describe as "upbeat" or "energetic", and even that's a stretch, and it's followed by seven minutes of the same sub-100BPM turmoil that was going on before. 'The Watcher' is the clear single on this one, not to say it's any less dreary than any of the other tracks, it's just a little more condensed in structure. The drums serve as a skeleton and pace keeper and opt to not add much extra spice, they’re pure, disgusting doom, with very little outside influence.

The consistency of this album is both its strong suit and weak point. While Solothus does a good job of keeping you engaged with very minimal guitarwork, their steady vibe prevents them from reaching heights that are truly magical. I often find myself wishing the band went a little deeper into their melodic leads, which is something the closing track actually does very well, but it's a long, treacherous, and at times monotonous road getting there, and it's not always a path I'm in the mood to take. This is basically Hooded Menace if they recruited one of Insomnium's guitarists, which makes for a slightly more palatable mixture, but still one that will likely only appeal to doom junkies. In all likelihood, you probably already knew if you liked this or not before you even heard a note of the music.

Rating: 7.2 out of 10

Review by Alex on September 15, 2019.

Into Desolate Realms comes approximately one year after having released Evoked from Abysmal Sleep which signaled the break in the 10-year hiatus of Sweden’s legendary, Runemagick. From what I could gather, the band has been through many trials from line-up changes to disagreements with labels, you name it they’ve lived it. However; that has not hindered the will and quality of the music coming from the Swedes. Runemagick’s first official expedition came in the form of a promo released way back in 1991, they’ve come a long way since then, in nearing 20 years of dominating the death/doom gamut. For those who may be fairly new to the band such as myself, there’s no need to adjust to their sound given most of us are familiar with the likes of Bolt Thrower or at least I hope; then just imagine a slower, groovier form of our beloved. Though mostly throbbing at a moderately slow pace Into Desolate Realms has both wheels and wings in which you’ll soon find out. 

I remember hearing and being immersed by their 2003 Darkness Death and Doom record which prompted my growing interest in the unit; then I snagged 2018’s Evoked from Abysmal Sleep and hitherto, what I have amassed of Runemagick’s discography has been ever so satisfactory. Hence; for me the big question is how does Into Desolate Realms hold up against Darkness Death and Doom and Evoked from Abysmal Sleep, answer; the current release is a beast within its own kingdom. Runemagick’s trademark sound is present here, however, along comes a prevalent stoner/psychedelic undertone breeding with the marrow of an ancient resonance to initiate this new chapter in Runemagick’s near flawless inventory. Nicklas’ gargoyle of a vocal chord returns ever still hungry as though 2018’s feast was but an appetizer, the riffs and pace-keeping of the drums and bass, skill glib to the identity and characteristics of this celebrated syndicate, now making golden strides and advances towards immortality. 

Psychedelic/stoner elements can be pointed out due to its contrasting tone, whispering to the loud and dominant voice of Runemagick’s unchallenged death/doom potency; yet through its prudent assimilation, those mountainous-climaxing moments I admire about their music is never substituted or worse, hindered to facilitate the band’s bending of their staple sound. That slow and steady climb towards majestic heights is there to be heard on ‘Into Desolate Realms’, ‘The Opening of Dead Gates’, ‘Sorceress Reburned’ and ‘Decay to Nothing’ and so-forth. Nicklas’ voice accompanies and steers the listener/s through the heavy passages of guitar chord progressions and monstrous fucking riffs being ever so often placed upon the listener to form a crescendo of melodicism projecting anxiety, dread and despair. It’s so seamlessly done on ‘Wolves of Nocturnal Light’, the way Runemagick can pull the listener into a space of stillness, then slowly begin to advance forward in levitating towards a tonal apex; the movement on Into Desolate Realms is sprawling and effects even the most claustrophobic moments. The drumming is played in a supervising manner, as though conducting the fluctuation and stability of the tempo greatly impacting the guitars, bass and vocals to summon a mood of devastation.

All this is completed with lyrically obscure themes surrounding occultism and perils home to the artistic direction of Runemagick making for a consuming experience. As implied before, Into Desolate Realms is in a world of its own, thus trying to compare it to past material by the band could be a bit tedious, though the traits of vintage Runemagick do make bold, impactful appearances. For a death/doom metal outfit this old, the dusty suit still fits like new; regardless of the hardships threatening to damage the morale of the unit. Hence; after listening to this latest output by Runemagick I’ve began to get the feeling they’re one of those ’can do no wrong’ bands; the type of unit that turns anything they touch to gold even if what’s being done goes against the grain or stitching of a familiar fabric. There is nothing done that foils Into Desolate Realms, expect veteran music from a veteran band that both new and old-headed supporters can appreciate.

Rating: 8.5 out of 10