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The crawling epic finale “Queen Of Lies” would be easy to mention in this regard, as would the wrecking ball that is ‘Just One Kill! ONE KILL!!’ *dun-dun-dun-dun*, but one number stands out as being this record’s crowning jewel, and that is the immense title-track. This LP sees the best of that compositional style, with many choruses being both instantly memorable and major fun to shout along with. I’ve always praised Aeon for being accessible and oddly catchy, despite their frequently relentless jackhammer approach. Individual performances aside, the success of God Ends Here is all in the songwriting. OG member Zeb, along with his stringéd companions, provide a chunky tone that will make any metalhead grimace with approval, whilst throwing in the occasional squeak and squeal to keep audiences on their toes. Sure, the blast-beats are there in droves, but he brings heft to weighty grooves, like the hammering “Let The Torturing Begin”, to keep things interesting. Playing the kit for Aeon is no mean feat, and I know it took a long time to find the right fit, but they nailed it with this tireless and creative skinsman. Newest member, and Dark Funeral drummer, Janne Jaloma, has been quite the addition. His best performances are two of my personal highlights firstly there’s “Let It Burn” where he positively spits the threatening lyrics like fiery phlegm in your ear (‘JEHOVAH FUCKING DIIIIE!!’) then there’s the irresistible “Just One Kill” where it sounds like there’s a whole army of Tommies ready to murder you with gruesome glee (‘I wish I could…stab you foreveeerrr!’). This guy fucking means it when he decries christianity in alarmingly creative ways. Not only is he at his most decipherable (a trait for which I’ve always commended Aeon), but the sheer level of malice in his voice reaches beyond theatre. Speaking of which, Tommy Dahlström totally outdoes himself behind the mic. The Swedes cover a surprising range of moods and tempos, all wrapped up in the hatred and bile we’ve come to love them for.
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As a full album experience, God Ends Here is second to none. The structure of this album makes it difficult for me to listen to any track without feeling like I should be hearing the whole thing. Each ominous ambient segment is emotionally preparing you for the horrendous onslaught that follows. are no strangers to symphonics and orchestral interludes – Aeons Black had plenty – but here they really make sense. Though brutal and malicious this may be, it also emits an air of nobility and grandeur – escalating the scope to almost cosmological proportions. Such a sizeable gap has not changed Aeon much, and neither should it, but there is a grandiose element to new effort God Ends Here which elevates it above the rest of their already towering discography. It’s safe to say that this disc has spun in my house more than any other death metal album in the last 12 months. Aeon quickly became my favourite death metal band (besides Death obviously) back in 2012 upon the release of Aeons Black – but it appears I chose the wrong time to become a fan of the Swedes, because it would be approximately 8 years before we heard from them again! The announcement that they were working on new material made my heart do satanic somersaults, and damn did they make it worth the wait. Despite some pretty huge and hotly anticipated albums from big names that came out in 2021, I have to admit that, for me, this took the cake.