Send "Aeon " Ringtones to your Cell 
| Sputnikmusic |
 Aeon are stuck with the unfortunate distinction of being hindered by their own consistency. Path of Fire is their weakest album yet, but there's surprisingly little separation between it and their last two. Bleeding the False was their angriest, most comically anti-Christian release, while Rise to Dominate toned down the lyrical goofiness in favour of a heightened emphasis on grooves and some truly outstanding guitar work. Path of Fire is somewhere in the middle, and its surprisingly non-threatening as a result.They're still pissed off at everything holy, and the guitar work is still top notch, but without the excesses of its predecessors--be they lyrical or technical--Path of Fire doesn't give me much to talk about. I guess the giggle-led monologue in “Kill Them All” is peculiar enough to point out, but for the most everything bleeds together. There are a lot of pinch harmonics, some high/low scream/growl alternating and a fair bit of chugging and blasting, but outside of “Of Fire”'s synthesized 'oohing' and 'aahing' every song is basically the same. Path of Fire isn't bad. As far as being a modern Deicide clone, Aeon are still at the top of their game; but after two very similar sounding albums, their third does little to distinguish itself. You could listen to this, but I'd say go back an album or two instead. Better yet, just listen to Defaced Creation's Serenity in Chaos and be done with it....full text |
| Angrymetalguy |
| Swedish death metal, I mean real Swedish death metal with the legacy of brutality that everyone can identify in the form of (insert your favorite Swedish death metal bands here) lives on in Aeon, a band that hails from Östersund a city in Jämtland (which is basically in the mountains and towards the Norwegian border). Östersund, while not known for its thriving metal scene, has indeed birthed one of Sweden’s current and most brutal death metal bands who were signed to Metal Blade and released an album a couple of years ago entitled Rise to Dominate which really excited fans of the tech and (more-or-less) brutal styles of death metal. I believe when I was introduced to them the words “fucking ridiculous” were definitely involved somewhere in that conversation. Now the gritty details: Aeon, if you haven’t heard them before, is not a ground breaking band. Following well in the footsteps of other Swedish bands and, of course, American death metal bands such as Morbid Angel, Malevolent Creation and so forth, these guys produce a full frontal aural assault—but they’re not doing anything that is going to win them any trophies in the Angry Metal Guy History of Metal Awards Show. That said, there is much to be said for bands who are producing straight up solid, brutal and interesting material like Path of Fire which bursts out the gate with the line “On your knees you plead / forgiveness DENIED!”...full text |
| Thenewreview |
| Death metal is known for its clichés. Parodies of the genre in the form of video and audio are almost as plentiful as bands who sincerely desire to blaspheme against religious authorities and go Discovery: Health on human bodies. Let us be realistic here, when an outlier of heavier music processes the term “death metal,” they expect two distinct elements: cookie monster vocals and anti-religious lyrical content, all packaged together in a cacophony of ferocious guitars and breakneck drumming. Unfortunately, Aeon’s third full length album, Path of Fire meets every prerequisite, inadvertently damning itself as another rather unoriginal album chock full of familiar death metal clichés. Path of Fire begins with an expectedly brutal piece entitled “Forgiveness Denied,” which wastes not a second in showcasing the band as competent musicians. Guitarists Sebastian Nilsson and Daniel Dlimi sear their way through the uniform and impeccably tight drumming of Nils Fjellström, shaping a hellish sonic landscape for the listener to traverse through. Narrating the listener’s journey, vocalist Tommy Dahlstöm provides burly growls and a shrill scream, allowing him to alter his voice when necessary to contour the chaos more effectively. Following the introductory onslaught of “Forgiveness Denied,” Aeon mercilessly indicates to the listener that the band has very little intention of decreasing pace or volume throughout a majority of Path of Fire. Swiftly stomping the listener in the throat is precisely what Aeon does during the duration of “Abomination of God.” Nilsson and Dlimi shred relentlessly during the album’s fourth track, while Dahlstöm’s maniacal screaming forces the listener to gasp for air until the mayhem finally subsides almost four minutes later. After an unexpected and quite ominous Middle Eastern-tinged, acoustic guitar intermission in the form of “Total Kristus Inversus,” the listener is able to regain their bearing, albeit only momentarily before Path of Fire sinisterly cranks up the heat. Resuming with “Of Fire”, the listener is discarded once more into a scorching inferno of death metal that does not extinguish until the last minute of apocalyptic album closer “God of War.”...full text |
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