AEON GODS – King Of Gods

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• Bands:
  AEON GODS
• Duration: 00:47:14
• Available from: 11/22/2024
• Label:

• Scarlet Records

Streaming not yet available

If in 2022 the dissolution of Aeternitas, a German band dedicated to a very classic symphonic power with shades of Within Temptation and Epica, had certainly not caused any kind of sensation, the initiative of Alexander and Anja Hunzinger – respectively voice and keyboard of the previous project – to take up the symphonic part alone to found the Aeon Gods leaves more than one perplexity.
The attempt, very evident, is to try to gain some notoriety with a project that recalls Powerwolf, Sabaton, Brothers Of Metal, Feuerschwanz and Wind Rose, with a concept based on those few Assyrian-Babylonian legends and myths that have come down to us – costumes included – which however immediately left us a little perplexed.
Much of the work is certainly due to the cunning and cunning of Alexander Hunzinger (very active in Germany also from the point of view of those behind the mixers in the studio and collaborates with various bands) here behind the microphone, who has found a still free niche of this carnival power metal genre and thus tries to exploit it: after having recruited two guitarists and a drummer and having released some self-produced singles, the contract with Scarlet arrives and, now, the debut “King Of Gods”, with lots of covers designed by the well-known Peter Sallai, already working with many of the bands mentioned above.
The first three pieces of this work, including the title track, are certainly designed to make a young audience sing, taking full advantage of the aforementioned imagery and with an addition of Twilight Force as regards the opener “Sun God ”, but in the long run the effect cringe ends up taking over, reaching its peak in “Aeon Gods”, which stands out for having a rather ridiculous chorus, albeit fun and enjoyable.
Fortunately, once the initial obstacle has been overcome, things improve slightly, with the rocky “Babylon Burning” getting the chorus right, while the “The Flood” trilogy ranges from the classic power piece with a double helicopter bass drum (“Enil's Command”) to the classic ballad (“Nintu's Lament”) up to the most combative of Manowar's rides on pounding bass and guitar strut (“Enki's Grace”).
For the rest there isn't much to underline, for a band that presents itself right from the start as 'theatrical metal' and therefore fills everything with choirs and orchestrations even in “The Descent” and “Monsters Of Tiamat”, while at least it appears the composition in “Tablet Of Destinies”, which closes the work, is a little more complex.
We have no doubt that this album will certainly appeal to those who have never heard of metal and imagine it as fun and carefree music to pair with a mug of beer, or the fact that Aeon Gods would not be out of place in the early afternoon of any Wacken , but as much as this trend tries to occupy as much as possible the niches of the union between nerd culture and metal, power metal is evidently somewhere else.