Runemagick Official Website

Biography

Runemagick was formed in the early 90s from the creative vision of Nicklas Rudolfsson. Initially, it was more of a solo endeavor, but soon Robert Pehrsson (of Death Breath and Studio Humbucker fame) joined as a permanent member. In its formative years, the band explored various styles, blending elements of death, doom, and black metal. Influences from legendary acts like Bathory, Hellhammer/Celtic Frost, and Candlemass shaped their early sound. Robert departed after a few years, and since then, Runemagick has seen a revolving door of members.

Often categorized by fans as a fusion of death and doom metal, Runemagick's musical style defies strict genre labels. For them, it's about playing the music that resonates with them and embodies the essence of Runemagick.

Over the years, the band has released numerous albums, ranging from their debut, "The Supreme Force of Eternity" which was essentially a collection of re-recorded early tracks, to more offerings like "Enter the Realm of Death" and their latest release "Beyond the Cenotaph of Mankind" which came out via Hammerheart Records in 2023. When asked to highlight one album from each decade, Nicklas Rudolfsson himself singles out "Enter the Realm of Death" (1999), "Darkness Death Doom" (2003), "Into Desolate Realms" (2019), and "Beyond the Cenotaph of Mankind" (2023) as particularly noteworthy.

Over the years, there have been periods of lower activity, but the entity has never disbanded or ceased to exist. Despite challenges and shifts in momentum, Runemagick has endured, steadfast in its dedication to the craft...

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The history and main discography of Runemagick (excluding reissues) can be divided into several distinct eras:

Era I (Early 90s)

Runemagick's earliest era was a formative period, beginning as a one-man project led by Nicklas Rudolfsson. During this time, Nicklas handled most of the creative and recording duties. The project soon evolved into a duo with the addition of Robert Pehrsson (later known for Death Breath and Studio Humbucker), who became a permanent member for this era. The band recorded several more or less official demos and performed a handful of live shows, exploring a variety of styles and influences from Bathory, Hellhammer/Celtic Frost, and Candlemass. This period laid the foundation for Runemagick’s unique sound and paved the way for future experimentation.

Discography

Several official and unofficial demo tapes

Nicklas’ reflections on the formative years

I remember this as an exploratory time, trying to find a style and sound for the band. We were just young guys, around 15–16 years old when it all started, driven by passion and inspiration. Many more or less amateurish demos were recorded. We did a number of gigs with various session members, including Johan Norman (ex-Soulreaper, ex-Dissection). The biggest influence during this period was probably Bathory, along with elements of Candlemass.

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Era II (Mid 90s-2000)

In the mid-90s, Runemagick entered a more structured phase with the release of a series of unofficial demos and their first three albums, including "The Supreme Force of Eternity" (compilation of re-recorded early demo tracks). The band performed live more frequently and even embarked on a tour. While the lineup shifted during this time, Nicklas remained the central creative force, recording approximately 95% of all instrumentation in the studio.

Discography

Several unofficial demo tapes
The Supreme Force of Eternity (album)
Enter the Realm of Death (album)
Resurrection in Blood (album)

Nicklas’ reflections on the early albums and evolution

Around 1993/1994, Robert and I went our separate ways, and Runemagick became more of a solo project. I wrote more music and recorded a few simple demos over the following years. One demo was recorded in the small Lobster studio in Smögen on the west coast around 1996 or early 1997. That demo was sent to Century Media, which led to a record deal. The debut album was recorded in 1998 at Studio Fredman in Gothenburg. The material consisted mostly of older songs from previous years, though many of them were played at a higher tempo than originally intended. I regretted that decision afterward. In fact, I also regretted choosing to record old songs for the debut album - I should have focused on finishing the material for Enter the Realm of Death, as several songs were already completed, and that album would have made a stronger debut. But hindsight is always clearer, and regret is a part of the journey. I know that many people appreciate the debut album, even if I personally have mixed feelings about it. Enter the Realm of Death contains a lot of the elements that still linger in Runemagick's music today, making it one of the band’s milestones.

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Era III (2000–2007)

Around the year 2000, Runemagick began a new chapter with a lineup that rehearsed actively and contributed to the creative process. This period saw the release of albums like "Requiem of the Apocalypse" and "Dawn of the End" (2007), as well as a more consistent live presence, particularly in the earlier years of the era. The sound evolved, and the band solidified its identity within the death - mid-tempo - doom genre.

Discography

Dark Live Magick (album)
Requiem of the Apocalypse (album)
Moon of the Chaos Eclipse (album)
Doomed by Death (split 7")
Darkness Death Doom (album)
On Funeral Wings (album)
Envenom (album)
Black Magick Sorceress (EP 10")
Invocation of Magick (album)
The Northern Lights (split 12")
Dawn of the End (album)

Nicklas’ reflections on growth and identity

During this era, we established a strong and stable lineup with Emma Rudolfsson (formerly Karlsson) on bass and Daniel Moilanen on drums. We rehearsed frequently and played a number of live shows, which helped solidify the band's identity both musically and as a unit. Several albums were recorded during this period, with Darkness Death Doom standing out as another milestone in Runemagick’s history. Shortly after the recording of Darkness Death Doom, Tomas "Offensor" Eriksson (ex-Grotesque, ex-Intoxicate) joined the band for a short period. The sound evolved further, leaning more heavily into the dark, mid-tempo doom-infused death metal that would become a defining characteristic of the band.

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Era IV (2008–2017)

Following 2007, Runemagick entered a period of dormancy, often described as a shadowed hibernation. Although Nicklas continued to write music during these years, no new material was publicly released. This era was marked by introspection and silence, with the band’s official activities paused.

Discography

Several unofficial demos

Nicklas’ reflections on the silent years

There’s not much to say about this period, as the band was largely inactive for various reasons. However, music continued to be written from time to time during these years, even if it wasn’t officially released. It was a time of dormancy, but the creative flame never fully extinguished.

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Era V (2017–2023)

Runemagick returned to the forefront in 2017, initiating a resurgence that led to the recording of three full-length albums, including "Evoked From Abysmal Sleep" (2018), "Into Desolate Realms" (2019) and "Beyond the Cenotaph of Mankind" (2023). "Beyond the Cenotaph of Mankind" was recorded during multiple sessions and at various locations (Studio Humbucker, Abysmal Noise Studio) from 2021 to 2022. The lineup featured Nicklas Rudolfsson on guitar and vocals, Emma Rudolfsson on bass, Daniel Moilanen on drums, and Jonas Blom on guitar. The album was mixed and mastered by Johan Bäckman at Raven Noise Studio.

Discography

Evoked From Abysmal Sleep (album)
Chthonic Magick (split 12")
The Opening of Dead Gates (EP 12")
Into Desolate Realms (album)
Beyond the Cenotaph of Mankind (album)

Nicklas’ reflections on the resurgence

I see this era as a kind of reawakening. The first album of this period, Evoked From Abysmal Sleep, may have ended up a bit too simple and straightforward, and the recording was somewhat "rusty." But in a way, that reflects its purpose - it was an album meant to get things going again. The follow-up, Into Desolate Realms, was a more refined effort. More time was spent on songwriting and preparations before recording, making it a more fully realized album. This era was rounded off with Beyond the Cenotaph of Mankind, which I consider another milestone. The album was surrounded by some turbulence and external influences, which caused delays before it was finally completed and released. But in the end, I’m satisfied with the result. If it had been the last Runemagick album, it would have served as a worthy conclusion—combining elements from multiple eras while also introducing some new aspects. It was also a great experience to record the drums at Studio Humbucker with Robert Pehrsson as the sound engineer, considering he was part of the band during the very first era. Toward the end of this era, Runemagick became more of a project rather than a fully active band for several reasons. I can’t really say that Runemagick feels like an actively operating band anymore. The future felt uncertain…

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Era VI (2024 and beyond...)

As of now, Runemagick finds itself at the beginning of what might be its final era. While the duration of this phase remains uncertain, the entity's dedication to its craft endures, continuing to expand its legacy with each new step.

As for what the future holds, only time will tell.

Discography

TBA 2025 (album)

Nicklas’ reflections on the unknown future

In many ways, Runemagick has returned to how it all started. It’s no longer a fully active or traditional band — it has become more of an entity. A new album was written during 2023–2024 (some riffs may be even older) and recorded in early 2025. I spent a lot of time composing and carefully selecting the right songs for the album. Musically, it follows the classic Runemagick style with some new elements sprinkled in — no major changes, just a natural continuation. This time, I also put a lot more effort into the lyrics than I usually do. There’s a common thread running through them across the entire album, and I’m really satisfied with how they turned out. As of now, I’m very happy with the final result and look forward to releasing the album through Hammerheart Records later this year.

Nicklas Rudolfsson, March 2025