Title: God Ends Here
Label: Metal Blade Records
Release date: 15 October 2021
Format reviewed: High-quality digital recording
We know of Aeon, which first beginnings in 1999. They have been around honing skills and taking their musical influences to where they want, and then, making forays into other sounds. Aeon are innovative, and has taken years of combined experience to their benefit. Without a doubt upon hearing them, they are death metal, and celebrate that, displaying their talent to its best view. Their latest, 16 track album “God Ends Here” is a testament to them being here, in the scene, and showing us listeners what they have been up to since their last album in 2012 entitled “Aeons Black”.
I wish to quote guitarist, Zeb Nilsson, speaking about the distance between the last album to this one, “I wasn’t feeling any pressure after such a gap, we don’t do shit half assed and I feel like this is our strongest album yet”. To me this says, we know who we are and what we can do, it’s confidence and assurance to fans that Aeon is back and ready to blow some minds. One thing that is attributed to the gap between albums was the search for a drummer. Jann Joloma of Dark Funeral and Imperium manned the drums for this album and has been compared to a machine, in speed and energy. His style of drumming fit with Aeon and further pushed the sound of the band that much more forward.
Current band members are, Tommy Dahlstrom, vocals; Zeb Nilsson, guitar; Daniel Dlimi, guitar; Tony Ostman, bass; and Jann Jaloma, drums (session). Another important sentiment felt by this band, and I will quote, “There’s a lot of thought put into this album in that way, and this is a way for us to push death metal further as a genre, but of course we are still Aeon. We will always sound like Aeon, we just go a bit further this time.”
The first track, “The Nihilist”, is to me a space-inspired melody, light and airy. Until deep, heavy bass and accompanying atmospheric choir sounding, echoed singing is added giving the track depth.
The second track, “Liar’s Den”, explodes in towering guitar riffs, drums on an out-of-control timer, guitars, bass and leads, all creating the ambiance. Vocal is sung from the bottom of the feet on up. Guttural and gritty.
The third track, “Let it Burn”, chugging riffs kick this off. Throughout the song, varying tempos, and that riff in this, I have to say, is an earworm. Damn, those drums, wow, the precision and speed changes. Enjoying this very much. I liked all of the change ups in this, from guitar tempos and drums, and the vocal was excellent.
The fourth track, “Orpheus Indu Inferis”, an echoing harmony, mixed in with delicate yet powerful keyboards. The vocal treatment is ghostly sounding. Brief and leaves me wanting to hear more.
The fifth track, “Church of Horror”, guitar and drums jump on and do battle right off the start. Vocals are compelling and powerful and keep the line between guitar and drum pulsing. Some excellent base that stands out and makes its own statement in this as well.
The sixth track, “Deny Them Eternity”, more of the excellent riffing and drums, and a guttural scream in the vocal. This powerhouse combination continues throughout the song.
The seventh track, “Forsaker”, these riffs, oh my. The eighth track, “Into the Void”, choir harmonies here, sounding otherworldly and edged in melancholy. This track is orchestral in the creation and takes your mind into a different place. Beautifully done.
The ninth track, “God Ends Here”, begins in an ominous tone, soon picking up heavy slamming riffs and maniacal drums. There is an underscore of harmonies, to the deeply guttural vocals, and both together sound very well balanced. The chant “God Ends Here, God Ends Here” is sung all the way to close of the song. The tenth track is “Severed”, continuing on in more epic complete sound.
Track Eleven, “Just One Kill”, hate-filled, heavy vocal and lyrics to match. Track twelve, “Mephistopheles” orchestral interlude with echoing harmonies. An amazing mix of sound, an opera of death metal.
Track Thirteen, “Let The Torturing Begin”, one thing I will say is that this band creates some very addictive riffs and drum headbanging sections. Track Fourteen, “Despise the Cross”, is lyrically strong, and musically epic.
Track Fifteen, “Overture Magnum Reginae”, is an inspiring brief trip through atmosphere building keyboard and choir harmonies. Track Sixteen, “Queen of Lies”, more of those chugging riffs, and deep guttural vocals to start. Then, those drums, damn, just clean and precise and non-stopping. Guitar solos cut in here, and add more rich layers. The song finishes in echoing harmonies before fading away, altogether.
Aeon may have taken an album break, but that doesn’t mean anything when you hear this. More musical influences and surprising opera pieces to add more to this already strong, creative album. Pick this up, listen and immerse in the energies that are Aeon. I give a 9/10 Metal Marie
9/10 Epic Storm
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