Aeon- God Ends Here Review
The years since Aeons Black have been anything but stable for Swedish death metal band Aeon. First drummer Arttu Malkki went on hiatus from the band and was promptly, then permanently replaced by Emil Wiksten. Bassist Marcus Edvardsson left next and was replaced by Tony Östman, then rhythm guitarist Daniel Dlimi left and was replaced by Ronnie Björnström who himself left the band a year and a half later. Dlimi eventually returned to the band and Janne Jaloma from Dark Funeral became the new drummer the following year. With the tumult of the last decade now behind them, it’s a perfect time to make a comeback and Aeon have done just that with the release of God Ends Here, their fifth LP and their first full-length release in 9 years.
Not wasting a lick of time, Aeon come in off of the mighty intro “The Nihilist” and head straight to work with the megaton-heavy “Liar’s Den”. “Let It Burn” expounds on the riffery of “Liar’s”, kicking it up to a beautifully relentless extreme. “Orpheus Indu Inferis” provides a short symphonic interlude, followed up by the back-to-back rippers “Church of Horror” and “Deny Them Eternity” to snap things swiftly back into gear. “Forsaker” is easily comparable to recent Cannibal Corpse with a flare of Morbid Angel at their peak, climactically ending and shifting seamlessly into the all-encompassing strings and chorus of “Into the Void”.
Next is the title track, which in its incorporations of the symphonic and choral elements of the “Into the Void” interlude along with the primary current of ruthless death metal that defines this album can be called nothing less than a dark epic. “Severed”, true to its name rips flesh from bone and drum from ear, as does the technically impressive “Just One Kill”. We get another short interlude with “Mephistopheles”, promptly followed by “Let the Torturing Begin”, an exercise in classic death metal bloodiness with a slick guitar solo to boot. “Despise the Cross” is pretty self-explanatory amidst the thick riffing and fully automatic kick drums, leading into the final one-two punch of the interlude “Overture: Magnum Reginae” and the 6-minute closer “Queen of Lies”, a track comparatively slower than most of the tracks on the album but nevertheless just as heavy and adequately hellish to end the record with.
Hearing the strength and technicality of God Ends Here after 9 years of no new records and internal turbulence, perhaps all the rockiness was worth it for Aeon to come out even better and harder than before. There aren’t any signs of disconnect on a creative level and the record captures the band heavy as ever, showcasing their well-earned elite status in the death metal field for anyone who may have forgot. For those people or anyone new to Aeon, this album should be an effective (re)introduction to the band, and even an inspiration to musically deliver on the same level.