Released: 2013, Metal Blade Records
Reviewer: Metal-Rules.com UK Team
The debut GALLOPING BLASPHEMY album created a lot of buzz last year for these Greek blackened thrashers, and as a very welcome surprise, it has only taken one more year for the band to conjure up a second offering for all those fans converted to Satan's Wrath diehards last year. AEONS OF SATAN'S REIGN is the title for their new return, which is being released on Metal Blade Records. As vibrant and intricate as the cover art may lead you to believe, this is certainly not an album for those looking for anything that’s not purely nefarious, and very fucking dark.
The opening Gregorian chants of “Only Satan Is Lord” sets a dank and sinister mood, as the gurgled and inhuman noises in the background add to the evil atmosphere which is to be continued as the song bursts through, lead in by a typical 80s roll of toms. The thrash riff that breaks through isn't that innovative, but it is just so memorable that it isn't even a factor worth considering. “Die White Witch Die” is a standout track, with its highly occult sensibility, and groovy Mercyful Fate style riffs that soak the whole track in the blood of a fresh human sacrifice.
A strong Megadeth vibe is given as the guitars rip through the opening riff of “Ecstasies Of Sorcery.” The crunchy guitar tone combined with the reverb soaked vocals certainly adds to the anti-modern feel that is so vital to this record. For some it may be nostalgia that gives these songs appeal, but for me it is simply the fact that I haven’t heard in a very long time a blackened thrash record that is just so sinister sounding, yet so enjoyable of a listen. The class of the song writing is almost on a par with arena rock bands, but no underground black metal fan could possibly be dissatisfied with this album, for it also possesses the mystique and eeriness of bands such as Finland’s Beherit and Impaled Nazerene.
“All Of Us Witches” demonstrates the blistering lead guitar work of V and Stamos K, providing the ultimate head banger to wake up the dead. The Ceremony closes after eight tracks with title song “Aeons Of Satan’s Reign” which begins with a mellow and bleak clean part, before launching into a slow dirgy distorted section, which eventually transforms into a fully-fledged 80’s black metal attack, with vocalist Tas vomiting forth his vocal cries so fast he would give any rapper a good run for his money. The track comes to a close with a slow and epic rouse of power chords, with vocals following the exactly same rhythm, and as this grandiose melody is transposed to keyboards and fades out to silence, all I can say is, “I hope we get another album next year!” To think that a band today can produce 8 great tracks in such an old style is certainly encouraging, but to think that a band can produce those tracks in just a year is even more exciting.