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The Final War Approaching (2001)
The Final War Approaching is the first full-length album from Sweden's Armagedda. It was released in 2001 through Breath of Night Records. I believe this band came recommended by a friend while I was in Sweden, though the exact details elude me. However, what I do remember is that the first song that I heard from Armagedda seemed promising enough for me to seek the album out and give them a shot. Hearing that they shared some acquaintances, at the very least, with Watain also added some anticipation. In the end, I found it to be forgettable and a little disappointing.
To just come out and state the obvious, this band is one of the countless Darkthrone clones that sprang up around the end of the last century. With this in mind, I still hoped for better results, but the album is just too inconsistent. The production is raw and attempts to capture the feeling from Transilvanian Hunger, but does not come close. It possesses a rather amateurish quality that betrays the lack of knowledge of the individuals involved. Of course, one can tell that they have good taste; at least they are emulating a good band. However, they are not really adding anything unique into the mix. The first track, "Deathminded", is pretty decent and features a handful of nice riffs, but just comes off as trying too hard to recreate the past. It also drags a bit. Even the shorter songs feel as though they are much longer, as the arrangements just are not all that engaging. "Skogens Mörka Djup" is one the exceptions, as its length and approach suits the slow and mournful pace. Overall, this material needed a lot more work and the majority of it comes off as highly derivative with nothing worthwhile added.
The production is awful in that the drumming is too loud and the piss-poor vocals are also too high in the mix. A few of the songs even sound as if they were not recorded during the same session (possibly not at the same studio). This is unacceptable and destroys what little continuity the album had going for it. As for the vocals, Graav is simply awful at this. He sounds like he is chewing his own face, and it does not come off as grim or evil, it just sounds like hell. I get an image of someone small, frail and extremely feeble when I hear his vocals. It is as if he was trying too hard to achieve a sound that he just could not pull off. The end result is something comical, in a way.
The Final War Approaching is not all bad. The musicianship is solid enough. The drumming shows an understanding of minimalist playing, according to Fenriz, and rarely going overboard with the unnecessary fills and so on. The weaknesses are mostly apparent when the songs slow down. The same is true for the guitar playing, as it only comes off as sloppy during the slower parts. When things are moving at a fast tempo, everything sounds as it should. If this was a simple demo release, it would actually give a better impression. Nevertheless, as a full-length album, it does not measure up. They would have done better to work on the material longer, getting rid of useless riffs and also putting more effort into injecting the music with a bit of their own identity instead of trying so hard to pick up where Darkthrone left off. The album is decent for what it is, but could have used a lot of improvement.
To just come out and state the obvious, this band is one of the countless Darkthrone clones that sprang up around the end of the last century. With this in mind, I still hoped for better results, but the album is just too inconsistent. The production is raw and attempts to capture the feeling from Transilvanian Hunger, but does not come close. It possesses a rather amateurish quality that betrays the lack of knowledge of the individuals involved. Of course, one can tell that they have good taste; at least they are emulating a good band. However, they are not really adding anything unique into the mix. The first track, "Deathminded", is pretty decent and features a handful of nice riffs, but just comes off as trying too hard to recreate the past. It also drags a bit. Even the shorter songs feel as though they are much longer, as the arrangements just are not all that engaging. "Skogens Mörka Djup" is one the exceptions, as its length and approach suits the slow and mournful pace. Overall, this material needed a lot more work and the majority of it comes off as highly derivative with nothing worthwhile added.
The production is awful in that the drumming is too loud and the piss-poor vocals are also too high in the mix. A few of the songs even sound as if they were not recorded during the same session (possibly not at the same studio). This is unacceptable and destroys what little continuity the album had going for it. As for the vocals, Graav is simply awful at this. He sounds like he is chewing his own face, and it does not come off as grim or evil, it just sounds like hell. I get an image of someone small, frail and extremely feeble when I hear his vocals. It is as if he was trying too hard to achieve a sound that he just could not pull off. The end result is something comical, in a way.
The Final War Approaching is not all bad. The musicianship is solid enough. The drumming shows an understanding of minimalist playing, according to Fenriz, and rarely going overboard with the unnecessary fills and so on. The weaknesses are mostly apparent when the songs slow down. The same is true for the guitar playing, as it only comes off as sloppy during the slower parts. When things are moving at a fast tempo, everything sounds as it should. If this was a simple demo release, it would actually give a better impression. Nevertheless, as a full-length album, it does not measure up. They would have done better to work on the material longer, getting rid of useless riffs and also putting more effort into injecting the music with a bit of their own identity instead of trying so hard to pick up where Darkthrone left off. The album is decent for what it is, but could have used a lot of improvement.
(12 Sept. 2011)
Only True Believers (2003)
Armagedda's Only True Believers was released in 2003 and marks a significant leap from their debut. After a rough start with The Final War Approaching, the band, now under the skilled guidance of Tore Stjerna at Necromorbus Studio, has clearly matured. The album is tighter, more focused, and feels like the work of a serious band rather than just another group trying to replicate their influences.
The album carries a stronger sense of identity, moving away from the aimless imitations of the first album. The sound, particularly in tracks like “Emperor from the Eternal Dark” and “Poetry from a Poisoned Mind,” reveals a band capable of infusing their black metal with atmosphere and purpose. These two tracks stand out as some of the strongest the band ever created, especially with their eerie, doom-laden riffs and deeply unsettling vocals. The intensity and emotional weight of these songs are enough to overshadow the more forgettable moments.
While Darkthrone's influence is undeniable, Only True Believers strikes a more refined balance. The production is fuller, without feeling overdone, and it is reminiscent of A Blaze in the Northern Sky in its approach, whereas its predecessor was going for the more necro sound of Transilvanian Hunger. There’s a noticeable growth in Graav’s vocal delivery, no longer trying too hard to sound “evil,” and instead evoking genuine anguish.
The album’s best moments are its most haunting: slow, oppressive sections mixed with bursts of faster, almost epic riffs. "Emperor from the Eternal Dark" and "Poetry from a Poisoned Mind" both convey a sense of cold, existential dread that is absent from the band's earlier work.
Though the album still shows traces of its influences, Armagedda manages to carve out their own space in the second wave black metal scene, moving beyond past mistakes and refining their craft. Only True Believers is by no means a genre-defining classic, but for fans of this style, it’s a step up and a worthier effort.
The album carries a stronger sense of identity, moving away from the aimless imitations of the first album. The sound, particularly in tracks like “Emperor from the Eternal Dark” and “Poetry from a Poisoned Mind,” reveals a band capable of infusing their black metal with atmosphere and purpose. These two tracks stand out as some of the strongest the band ever created, especially with their eerie, doom-laden riffs and deeply unsettling vocals. The intensity and emotional weight of these songs are enough to overshadow the more forgettable moments.
While Darkthrone's influence is undeniable, Only True Believers strikes a more refined balance. The production is fuller, without feeling overdone, and it is reminiscent of A Blaze in the Northern Sky in its approach, whereas its predecessor was going for the more necro sound of Transilvanian Hunger. There’s a noticeable growth in Graav’s vocal delivery, no longer trying too hard to sound “evil,” and instead evoking genuine anguish.
The album’s best moments are its most haunting: slow, oppressive sections mixed with bursts of faster, almost epic riffs. "Emperor from the Eternal Dark" and "Poetry from a Poisoned Mind" both convey a sense of cold, existential dread that is absent from the band's earlier work.
Though the album still shows traces of its influences, Armagedda manages to carve out their own space in the second wave black metal scene, moving beyond past mistakes and refining their craft. Only True Believers is by no means a genre-defining classic, but for fans of this style, it’s a step up and a worthier effort.
(13 Sept. 2011)
Ond Spiritism: Djæfvulens Skalder (2004)
Released in 2004, Ond spiritism: djæfvulens skalder is Armagedda’s disappointing final act. Following the improvement shown on Only True Believers, this album marks a significant regression. The band’s attempt to explore darker, more atmospheric sounds feels forced, as if they’d just discovered Bethlehem and were trying to inject Burzum’s influence into their black metal formula. The result is a half-hearted, inconsistent record that struggles to maintain focus or energy.
Rather than building on the solid foundation of their previous album, Armagedda opts for drawn-out clean guitar passages and a general sense of aimlessness. Tracks like "Helvetestoner" and "Döpt i oheligt vatten" attempt to create an eerie atmosphere, but the execution feels tired and overly familiar. Even Graav’s vocals, which had been developing nicely, are reduced to grating attempts at capturing something dark and haunting, yet failing to do so convincingly.
By the time we reach the mid-paced “Ændalykt,” there’s a brief moment of clarity with a more cohesive atmosphere and better riffing, but it doesn’t last. Instead, the album becomes bogged down by filler—uninspired tracks like “Döden styr livet” and the pointless instrumental "Gravgaardspsalm" drag the entire thing down. "Afgrundsvisioner" is the only song that stands out, with a return to the tremolo riffs and blasting drums reminiscent of early Darkthrone, but even it feels more like a shadow of what Armagedda was capable of in their prime.
Ultimately, Ond spiritism: djæfvulens skalder is a weak, uninspired conclusion to a band that once had potential. It feels like an attempt at being more progressive, but the lack of direction and creative spark makes it clear that Armagedda had already run out of steam. Skip this one and stick to Only True Believers.
Rather than building on the solid foundation of their previous album, Armagedda opts for drawn-out clean guitar passages and a general sense of aimlessness. Tracks like "Helvetestoner" and "Döpt i oheligt vatten" attempt to create an eerie atmosphere, but the execution feels tired and overly familiar. Even Graav’s vocals, which had been developing nicely, are reduced to grating attempts at capturing something dark and haunting, yet failing to do so convincingly.
By the time we reach the mid-paced “Ændalykt,” there’s a brief moment of clarity with a more cohesive atmosphere and better riffing, but it doesn’t last. Instead, the album becomes bogged down by filler—uninspired tracks like “Döden styr livet” and the pointless instrumental "Gravgaardspsalm" drag the entire thing down. "Afgrundsvisioner" is the only song that stands out, with a return to the tremolo riffs and blasting drums reminiscent of early Darkthrone, but even it feels more like a shadow of what Armagedda was capable of in their prime.
Ultimately, Ond spiritism: djæfvulens skalder is a weak, uninspired conclusion to a band that once had potential. It feels like an attempt at being more progressive, but the lack of direction and creative spark makes it clear that Armagedda had already run out of steam. Skip this one and stick to Only True Believers.
(3 Nov. 2011)
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