All Swedish sung album from the operatic, medieval folk-themed traditional power metallers. The opening ‘Svarta Änkan’ (translates as Black Widow) is a classic in the making, employing most of the elements found elsewhere on Armod, including an infectious gallop, a smattering of female vocals in duet (also heard on ‘Herr Peder Och Hans Syster’ Mr. Pedersen And His Sister), catchy guitar interplay, abrupt tempo changes, classical music strings section and Mathias Blad’s multi-talented voice. Acoustic guitar is the prominent focal point on the violin backed ‘Griftefrid’ and first half of ‘O, Tysta Ensamhet’ (O Quiet Loneliness). I don’t begrudge anyone the right to sing in their native tongue and after almost three decades in and around metal, somewhat used to it, but I will admit, the lack of English is, at times, a bit confusing. Like death or black metal, whilst in an upbeat context, Swedish is not a problem. However, on the slower, ballad-type moments, it’s more noticeable and while not a distraction, certainly disconcerting, at least in this hemisphere. ‘Dimmornas Drottning’ (aka Queen Of The Mist) is another spirited run through, with just the odd chorale chant, but otherwise metal to the max! Speaking of which, ‘Grimborg’ is the most straight forward metal piece. Probably should have saved one of those speedsters for later, as the final quartet consists of a short fiddle laden instrumental (‘Eklundapolskan’), another acoustic and orchestral strings ballad (‘Grimasch Om Morgonen’), a mid-tempo ‘Fru Silfver’ (Mrs. Silver) and the liturgical organ/instrumental ‘Gammal Fäbodpsalm’ (Old Mountain Psalm) finale. The record company literature submitted to journalists makes a point of stressing that this is NOT the new direction of the band, but merely a one-off. That says volumes, by itself. As a longtime fan/supporter, can confidently say Armod is not their best/strongest work.