Aenaon Website Online - 02/01/2014

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Welcome to our new official website! Follow our news about shows and upcoming releases, read past and present interviews, articles and reviews about Aenaon, stream our videos and songs, read our bio, lyrics, find photos or download goodies!

We would like to thank Giorgos Tsioutsiouliklis and WEBits Design for their amazing work and support. This website is way more than what we could have expected! You may notice some bugs or unavailable sections here and there but in a few days everything will be in place and our website 100% ready.

On the following weeks many news will be announced so try to follow our new through this website and Facebook. Cheers!

Happy 2014 - The Aenaon way - 01/01/2014

We've decided to celebrate 2014 by sharing with all of you one track from the new Aenaon album "Extance". Dedicated to all our beloved sexual confused weirdos around the world, this is the most straight song of Aenaon, ladies and gentlemen, this is "Grau Diva".

"Extance" teaser - 25/12/2013

Aenaon new album "Extance" out in January 2014. Have a small glance to the upcoming terror. Share the news

AENAON - "Er" official Longsleeve - 29/01/2013

We know that some heroes need warm clothes, so this is for you! Check out these awesome longsleeves! Official Aenaon Merchandise by Possession Productions. Strictly limited number, so order before it's too late. Available Sizes: S, M, L, XL

A slight delay... - 26/12/2012

Dear friends, Unfortunately we got some bad news from Possession Productions. Αccording to their statement, the Czech manufacturer of 7' inch split forget to add this product, among others, at the container that was shipped to label... The answer of manufacturer was ridiculous & simple: "We forgot to put your order in the container." It's really sad and we are really sorry about this inconvenient situation. We want to ask you just to be a little more patient and forgive us for this delay. Well, there are also some good news... Anyone who already made a pre-order of the 7" inch split will be rewarded for his pending, with 2 patches (one of Aenaon and one of Stielas Storhett) when the order will be received. The next container will be sent to Possession Productions at January 15, 2013. Thank you very much for your understanding.

Cover & Promo Page Online - 23/11/2012

Ladies and Gentlemen, we are at last proud to reveal "Er" for the first time! Listen both tracks of Aenaon & Stielas Storhett in our promotional page & share it: Feel free to write and publish any review based on the above link

New Drumer, Nycriz - 13/11/2012

We are proud to announce our new beast behind the drumset, Nycriz. After a long time of introversion and darkness we are slowly getting ready to explode.

"Er" New Split 7-inch Vinyl Release - 02/09/2012

After some short period of silence we are happy to announce a new Aenaon release for this Fall. It's a 7-inch vinyl split with Russian avant-gardists Stielas Storhett. Vinyl contains two new tracks from both bands, produced and recorded for this split edition. "Er" from Aenaon and "Alter Ego" from Stielas Storhett will be also available at online store. The cult label from Belarus - Possession Productions is working on this musical novelty. ( More info soon...

4th place in Metal Storm Awards - 01/03/2012

We are excited to announce that Aenaon's "Cendres et Sang" has taken the 4th place in Metal Storm's 2012 awards in the best Avantgarde / Experimental metal category. Results: 1. Devin Townsend - Deconstruction 2. Thy Catafalque - Rengeteg 3. Unexpect - Fables of the Sleepless Empire 4. Aenaon - Cendres et Sang 5. Tera Tenebrosa - The Tunnels 6. Virus - The Agent That Shapes The Desert 7.Smohalla - Resilience 8. Cave In - White Silence 9. Rain Delay - Slumber Recon 10.Xes Dreams - NC-17 We would like to thank everyone who voted for us. It's really an honour.

And the Winners are... - 12/02/2012

Ok here you go, the winners of "A Parallel Zoetrope"  competition are: Syd Jimenez & Cristina Ludosan. We thank everybody for the great participation and don't worry, there will be more Aenaon competitions on the near future.
(αέναον)/a'enaon/adv αεί + vit ναω 1.the infinite 2.inexhaustible 3.eternal 4.indestructible 5.durable
  • Achilleas C.

    Guitars / Arrangements

    Varathron, ex-Tortured, ex-Chaotic Symmetry


  • Astrous

    Vocals / Lyrics

    Aule, ex-Disolvo Animus, ex-Black Winter, ex-Majeste Simphonia


  • Thyragon

    Bass Guitar

    ex-Dunkel, ex-Cychaeon


  • Anax


    Absinthiana, Chaos Virtue


  • Nycriz

    Drums & Percussions

    Absinthiana, Chaos Virtue, Stihovoli





Recorder at Crown Studio

Mixed by Achilleas C. and Aenaon

Mastered by Tom Kvalsvoll at Strype Audio

Illustrations & Artwork by Lukasz Wodynski

Spheres of Orion

Razorbleed Productions


Recorder at Crown Studio, Greece

Mixed by Achilleas C.

Mastered by Achilleas C.

Illustrations & Artwork by Ra.Design

Aenaon / Stielas Storhett

Possession Productions


Recorder at Crown Studio, Greece

Mixed by Achilleas C.

Mastered by Tom Kvalsvoll at Strype Audio

Illustrations & Artwork by Costin Chioreanu

Cendres et Sang



Recorder at Crown Studio

Mixed by Achilleas C. and Aenaon

Mastered by Tom Kvalsvoll at Strype Audio

Illustrations & Artwork by Lukasz Wodynski

A Parallel Zoetrope

Floga Records / Orkestral Promenade Prod.


Recorder at Crown Studio, Greece

Mixed by Achilleas C. and Aenaon

Mastered by Tom Kvalsvoll at Strype Audio

Illustrations & Artwork by Costin Chioreanu


Bleak Art Records


Recorder at Fragile Studios, Greece

Mixed by Vangelis Yalamas & Aenaon

Mastered by Vangelis Yalamas at Fragile Studios

Illustrations & Artwork by Ra.Design


Prog Rocks (Gr) 9/10 - 23/01/2014

Είναι αλήθεια ότι το ακραίο metal στην Ελλάδα έχει μακρά παράδοση, όπως αλήθεια είναι επίσης ότι (πιθανώς με εξαίρεση τους Rotting Christ) αυτή η μουσική δύσκολα και σπάνια υπερέβη το ακροατήριό της, γεγονός μάλλον λογικό. Ωστόσο, οι ταχύτατες εξελίξεις στο συγκεκριμένο ήχο, ειδικά κατά την τελευταία δεκαετία, και η κατ’ ουσίαν μετατροπή του σε βασικό πεδίο μουσικού πειραματισμού, έχουν αλλάξει άρδην τα δεδομένα. Συνδεόμενη είτε με το industrial, είτε με το avant-garde στοιχείο, ή ακόμα με την πιο σύγχρονη εκδοχή του tech-metal, η προοδευτική και experimental πλευρά του ακραίου metal και δη του black metal αποκάλυψε νέες οδούς έκφρασης, που ευτυχώς δεν έχουν καμία σχέση με τη γραφικότητα που χαρακτήριζε τις περισσότερες black metal μπάντες κατά τη δεκαετία του ‘90.

Σε αυτό το σχετικά νέο μουσικό ρεύμα ανήκουν και κάποιες εξαιρετικότατες ελληνικές μπάντες. Εκτός των Hail Spirit Noir για τους οποίους γράψαμε πρόσφατα (κλικ), μεταξύ αυτών των συγκροτημάτων βρίσκονται και οι Θεσσαλοί Aenaon και μάλιστα σε περίοπτη θέση, όχι μόνο λόγω του μουσικού τους επιπέδου, αλλά και γιατί διατηρούν σε μεγάλο βαθμό και τη μουσική black metal ταυτότητα, διαφοροποιούμενοι από τους πιο ψυχεδελικούς και retro-prog ομόσταυλούς τους στην Code666 records.

Μετά από ένα ΕP και ένα full-length δίσκο, οι Aenaon ήταν έτοιμοι για το μεγάλο και αποφασιστικό βήμα. Οι φήμες για άλμπουμ υψηλού επιπέδου που διαφοροποιείται αρκετά από το μέχρι σήμερα ύφος της μπάντας επιβεβαιώθηκαν. Προσέχοντας την κάθε λεπτομέρεια στην απόδοση και τον ήχο των κομματιών και με εκλεκτούς καλεσμένους, όπως οι Mirai Kawashima (Sigh) και Sindre Nedland (In Vain / Funeral), καθώς και ο Χάρης των Hail Spirit Noir και Transcending Bizarre? και η αγαπημένη μας Τάνια των Universe217, οι Aenaon δεν κρύβουν τη φιλοδοξία του “Extance” ως εγχειρήματος.

Ο Χρήστος Μήνος και ο Κώστας Μπάρμπας αποκρυπτογραφούν την πυκνή αλλά και προσβάσιμη μουσική των Aenaon και αναλύουν τη σημασία της καλλιτεχνικής επιτυχίας του “Extance”.

Εισαγωγή & Επιμέλεια: Δημήτρης Καλτσάς


“Αέναο όραμα”
Στο μεταίχμιο των δεκαετιών του ‘80 και του ‘90 εμφανίζονται οι Rotting Christ, η ύπαρξη των οποίων θα σηματοδοτήσει -άτυπα- την έλευση του ακραίου ήχου στην καθ’ ημάς πραγματικότητα. Σε συνθήκες που πόρρω απέχουν από τις ανέσεις της σημερινής εποχής, οι Έλληνες μουσικοί θα κυκλοφορήσουν μερικά εξαιρετικά demos προλειαίνοντας τη θριαμβευτική τους είσοδο στη δισκογραφία. Οι δίσκοι που θα ακολουθήσουν θα αποθεωθούν από το διεθνή τύπο και θα μετατρέψουν τη μπάντα σε διασημότητα. Εν πολλοίς η αναγνώριση του έργου τους στο εξωτερικό θα στρέψει πλήθος βλέμματα στην Ελλάδα. Δε θα ήταν υπερβολή να ειπωθεί πως οι R.C. συνέβαλαν τα μέγιστα στην ενηλικίωση του ελληνικού μέταλ το οποίο επί σειρά ετών ήταν ανυπόληπτο ακόμα και για τους γηγενείς ακροατές, όχι όμως αδικαιολόγητα. Ο ερασιτεχνισμός που συνήθως απέρρεε από την έλλειψη των αναγκαίων μέσων αλλά και από την απουσία οράματος των μουσικών ήταν το κύριο σύμπτωμα του μέταλ του ‘80. Σταδιακά το σκηνικό θα αλλάξει. Οι νέες τεχνολογίες θα αμβλύνουν τις ελλείψεις και ως εκ τούτου η τεχνογνωσία δεν θα είναι προνόμιο λίγων. Η απόσταση που μας χώριζε από τις παγκόσμιες εξελίξεις θα πάψει πανηγυρικά να υφίσταται. Επιπρόσθετα, η εμπειρία των πιονιέρων θα μεταλαμπαδεύσει το όραμα της καταξίωσης στους φερέλπιδες μουσικούς. Κάπως έτσι, πολύ επιγραμματικά, η Ελλάδα θα αποκτήσει -πολύ καθυστερημένα- μέταλ κουλτούρα και μέσα σε αυτό το αναγεννησιακό πλαίσιο θα ανδρωθούν μεγάλες μπάντες.

Οι Αenaon είναι μία μεγάλη μπάντα! Tο νέο τους άλμπουμ, “Extance”, είναι μια εξαιρετική κυκλοφορία σε παγκόσμιο επίπεδο. Τα μέλη της μπάντας, με καταγωγή από την κεντρική Ελλάδα, δημιούργησαν ένα κολοσσό που, κατά τη ταπεινή άποψη του γράφοντα, θα μνημονεύεται σαν ορόσημο της ελληνικής μέταλ μουσικής. Το προοδευτικό τους black metal θαρρείς πως είναι η μετεξέλιξη ενός οράματος που ταπεινά υποφώσκει για χρόνια και που πλέον βρίσκει δικαίωση στο πρόσωπο των Αenaon.

Οι επιρροές τους αντικατοπτρίζουν τη πρόοδο του black metal: oι Solefald, οι Enslaved, οι παρανοϊκά εμπνευσμένοι Dodheisgard, οι Sigh και το προοδευτικό όχημα του πάλαι ποτέ μέλους των Εmperor Ihsahn είναι μερικοί από τους πρωτοπόρους ενός μονολιθικού κινήματος που σε διάψευση των αφετηριακών του θέσεων σήμερα κομίζει την αλλαγή στον ευρύτερο ορίζοντα του μέταλ. Το παραδοσιακό προοδευτικό μέταλ πνέει τα λοίσθια και οι κατακλυσμιαίες αλλαγές έρχονται πλέον από αλλού…Το άλμπουμ των Αenaon κυοφορεί αυτή την αλλαγή και επανανοηματοδοτεί το progressive, το οποίο από κοιτίδα ρηξικέλευθων μουσικών έχει ολισθήσει στον επάρατο μιμητισμό και στον άκοπο εντυπωσιασμό.

Εντυπωσιακά κομμάτια που λειτουργούν ως μωσαϊκά τα οποία αποτελούνται από εφιαλτικές μέταλ νότες, οι οποίες συνυφαίνονται με επείσακτα στοιχεία: τo σαξόφωνο στάζει δροσιά σε αυτό το εξ αποκαλύψεως τοπίο που πυρακτώνει τις αισθήσεις κατακρημνίζοντας τη βεβαιότητα της ασφαλούς ακρόασης. Η avant-garde οπτική της μπάντας χτίζει δαιδαλώδη κομμάτια, όχι κατ’ ανάγκη μεγάλα σε διάρκεια, αν και το αποκορύφωμα του άλμπουμ πρέπει να είναι το τελευταίο κομμάτι, το “Palindrome”, διάρκειας 12 και πλέον λεπτών. Στο σάλο που προκαλεί η ακρόαση αναδύονται και οι Virus και ενδυναμώνεται η αρχική εντύπωση πως η παράνοια του άλμπουμ είναι καλά μελετημένη και μεγαλοφυώς εκτελεσμένη.

Ένα εξαιρετικό άλμπουμ, το οποίο μου θυμίζει μια φράση του Χέγκελ αντεστραμμένη: το «όταν δεν μπορείς να ξεπεράσεις την εποχή σου γίνε η εποχή σου» στην περίπτωση των Αenaon θριαμβεύει το αντίθετο: μια νέα εποχή ανατέλλει μαζί τους διότι ασφυκτιούν στη μιζέρια που τους περικυκλώνει. Το φλέγον είναι άλλο. Όταν πλέον βρεθείς να ποδηγετείς την εποχή σου θα γίνει αντιληπτό από τους άλλους; Αυτό είναι το μόνο που πρέπει να μας απασχολεί: αν οι Αenaon θα δρέψουν όσα καταπληκτικά ποίησαν…

Βαθμός: 9 / 10
Χρήστος Μήνος

“Entering the extreme metal elite”
Δεύτερο full length album για τους Aenaon μετά το ελπιδοφόρο “Cendres Et Sang” και όλα είναι στην εντέλεια. Όλα τα στοιχεία που τους έκαναν να ξεχωρίσουν από τον σωρό του ακραίου metal στο ντεμπούτο τους, είναι και πάλι παρόντα, ανεπτυγμένα και εμπλουτισμένα με ξεκάθαρο σκοπό τη δημιουργία ενός δίσκου σύγχρονου και μέσα στην εποχή του.

Το μεγαλύτερο προτέρημα της μπάντας είναι η πλήρης γνώση του ήχου που υπηρετούν (progressive black metal / avant-garde metal), αλλά και του ακραίου ήχου γενικά, συνδυασμένο με μια πολύ υψηλή παικτική ικανότητα. Έχοντας αυτό το υπόβαθρο, δεν φοβούνται να φορτώσουν τα κομμάτια με στρώματα ήχου και ιδεών. Ο ακροατής ακούει τα καλύτερα στοιχεία του prog black metal να παρελαύνουν, με κύρια βάση επιρροής τις μεγάλες μπάντες της Νορβηγίας. Η riff-ολογία των Ved Buens Ende / Virus, όπως και των Thorns και των σύγχρονών Mayhem, είναι εδώ. Δε διστάζουν επίσης να φανερώσουν τις επιρροές τους από τους τελευταίους δίσκους των Shining, καλώντας και guest μουσικούς σε τσέλο, σαξόφωνο και φυσαρμόνικα. Παρόλα αυτά, δεν αφήνουν σε δεύτερη μοίρα τη μελωδικότητα. Για παράδειγμα, μερικά κιθαριστικά σόλο έχουν ένα rock αέρα. Όλη αυτή η πολυσυλλεκτικότητα δείχνει ότι οι συνθέτες της μπάντας έχουν σφαιρική γνώση της προοδευτικής μουσικής γενικότερα.

Αυτό το μείγμα ήχων λοιπόν, καταφέρνουν να μας το παρουσιάσουν μέσα σε κομμάτια που υπηρετούν πρωτίστως τις αρχές του songwriting. Παρόλη τη μεγάλη διάρκεια και ηχητική ποικιλία, ούτε ένα δευτερόλεπτο δεν ξεφεύγει σε άγονο πειραματισμό ή σε μπέρδεμα ήχων. Το μόνο αρνητικό που μπορεί να βρει κανείς είναι καθαρά στη σύνθεση. Παρά τη σωστή τους τοποθέτηση, δυστυχώς δεν είναι όλες οι ιδέες το ίδιο καλές και αυτό καμιά φορά συμβαίνει και στο ίδιο κομμάτι. Έτσι, ενώ ο δίσκος κρατάει γενικά τον ακροατή, σε κάποιες στιγμές μπορεί να κουράσει με τη μεγάλη διάρκειά του, ενώ αν είχαν περιοριστεί σε λιγότερο χρόνο, πιθανώς το αποτέλεσμα να ήταν ακόμα καλύτερο.

Αν πάμε ξεχωριστά στους μουσικούς παρατηρούμε ένα βασικό στοιχείο. Ο πυρήνας του παιξίματος της μπάντας συνίσταται στο στιβαρότατο rhythm section και τις ρυθμικές κιθάρες, που εκτός από τα riffs, επιδίδονται ανά στιγμές και σε ουσιώδεις αρπισμούς (και με χρήση ακουστικής), δίνοντας σημαντικότατες και αναγκαίες ανάσες στα κομμάτια. Τα κιθαριστικά σόλο, όπως προαναφέρθηκε, χρωματίζουν και γλυκαίνουν τον ήχο. Σε αυτόν τον χρωματισμό, σπουδαίο ρόλο παίζουν και τα πλήκτρα, παιγμένα από τον Χάρη των Hail Spirit Noir, που εκτός από εξαιρετικός παίχτης, δείχνει να έχει πλέον και τον δικό του trademark ήχο. Πάνω σε αυτόν τον καμβά ακουμπάνε και τα προαναφερθέντα guest όργανα, συνεπικουρώντας άλλοτε στη μελωδικότητα και άλλοτε στην avant-garde προσέγγιση. Τέλος, τα φωνητικά είναι από τα πολύ δυνατά χαρτιά του δίσκου. Πέρα από τα πολύ δυνατά guests (με κορυφαίο αυτό της Τάνιας των Universe217 στο εξαιρετικό “Funeral Blues”), η απόδοση του τραγουδιστή της μπάντας, Astrous, σε ακραία και καθαρά φωνητικά, ανεβάζει ψηλά τον πήχη.

Η παραγωγή, που έγινε στην Νορβηγία από τον Tom Kvålsvoll, παρέχει ότι ακριβώς χρειάζονται οι συνθέσεις για να αναδειχθούν, όντας μεν πολύ δυναμική, αλλά τονίζοντας με σωστό τρόπο τις λεπτομέρειες στη μουσική της μπάντας.

Οι Aenaon λοιπόν, πέτυχαν σε μεγάλο βαθμό αυτό που στόχευαν. Έκαναν έναν καλοστημένο, καλοδουλεμένο και δικαιολογημένα φιλόδοξο δίσκο, με όλα τα στοιχεία που ορίζουν τον σύγχρονο ακραίο ήχο. Τους αξίζουν συγχαρητήρια.

Βαθμός: 8 / 10
Κώστας Μπάρμπας


Metal Imperium (Es) 9.5/10 - 23/01/2014

Um termo como black metal progressivo é ambicioso. Raramente cumprido porque à partida a complexidade daquilo que o termo progressivo exige é paradoxal ao que o black metal oferece por ser primitivo, cru e selvagem. E depois existem bandas como os Borknagar que sempre (ou quase sempre) tentaram atingir um equilíbrio entre os dois. E é o máximo o que se consegue para se ter black metal progressivo, elementos díspares a trabalhar em conjunto para um fim comum. Os Aenaon são gregos e este é o seu segundo álbum, depois de "Cendres Et Sang" ter sido muito bem recebido em 2011. "Extance" poderá ser classificado sem vergonha como black metal progressivo mas tal termo também não deixa de ser redutor. Como tudo o que é genial, encaixar perfeitamente no quer que seja é sempre redutor do seu génio

Não é necessário o sax na "Deathtrip Chronicle", nem o orgão bem sixties na "Grau Diva" ou os instrumentos de sopro na "A Treatise On The Madness Of God" ou na "Der Mute Tod" para que se chegue essa conclusão. Essas são apenas pequenas migalhas no chão, é necessário dar um passo atrás e ver o enquadramento completo e é possível que isso não se consiga fazer logo de imediato, já que apesar daqueles que gostam de música progressiva (principalmente misturada com música extrema) ficarem fisgados, todos aqueles que gostam de coisas mais directas poderão estranhar ao início, mas como todas as coisas boas da vida, este álbum é para apreciar aos poucos e assistir à forma como o mesmo vai crescendo dentro do ouvinte aos poucos.

Mais um grande lançamento da Code666, apostada em trazer ao mundo aquilo que é necessário para desafiar a música na sua evolução - e deveria haver um prémio qualquer para isso, mas o maior prémio deverá mesmo ser poder lançar álbuns como "Extance", onde faixas como "Funeral Blues" ou o épico "Palindrome", que encerra o álbum, têm uma vida inesperada e tornam-se tão viciantes, que depois de mais de uma hora, fica-se com vontade de repetir tudo novamente, vezes sem conta. Típico caso de risco de injustiça de ser esquecido no final do ano por ter sido lançado demasiado cedo, mas mesmo assim... um dos álbuns do ano de 2014.

Nota: 9.5/10
Review by Fernando Ferreira


Deaf Sparrow Webzine 4.5/5 - 23/01/2014

Greek black metal has never really been ‘a thing’. Norwegian, Swedish, German, French, Finnish, and U.S. black metal have distinguished sounds and scenes but Greece is one of those countries that really never managed to create a solid metal community. There have been few distinguished bands such as Nocternity, Kawir, Thou Art Lord, Astarte, and Rotting Christ that have managed to survive in a metal-starved country but have never really had mainstream black metal success (except for maybe Rotting Christ). Now Aenaon has emerged and have become what should be the next big thing from Greece. They have created a sound on Extance, their second album, that is a combination of Shining and Ihsahn. Yes, you read that correctly – Shining and Ihsahn. Aenaon captures the dark jazzy moments of Shining while simultaneously maintaining the progressive nature of Ihsahn.

Extance is eleven tracks long and starts with “The First Art,” which is a decent opener and transitions well into the next track,”Deathgrip Chronicle.” The vocals immediately shine with soaring cleans, menacing growls, a melancholic guitar solo, and a wonderful saxophone performance. The sax is slow and sad, but not hopeless, and is accompanied by jazzy drums and a strong bass guitar that descends into a maddening, black vortex like a lunatic, and is underlined by what could only be described as the ghostly whines often seen in depressive black metal acts. “Der Mude Tod” is fucking black. The drumming is amazing and the guitar work phenomenal. Vocalist Astrous is quite proficient in his art with both cleans, screams, and growls and should be well sought after by black metal projects. Watching videos of their live performances, Astrous is able to maintain his quality of screams and growls but the cleans are covered by the bass so perhaps all the credit concerning them shouldn’t be attributed to Astrous, but regardless, they sound great. “Closer to Scaffold” is very similar to Shining with an increasingly evil feeling well-accompanied by fantastic musicality. Seriously, these guys are great musicians and very proficient with their instruments. They don’t joke around like some other black metal bands, playing the same chords over and over again, but really deviate from the norm while staying black. Sadly, since it was just released, you can only check out this sample via Youtube, but enjoy it either way:

The ninth track, “Algernon’s Decadence” is slightly over 2 minutes and is entirely piano, which some may consider filler but it adds well to the esoteric atmosphere of the album. The next track, “Funeral Blues” starts off in a bluesy manner and features Tanya Leontiou who has a rather strange voice but it works with the sound of the album. Once again, the saxophone contributes a much jazzier feel but it is a bit overused throughout. If a jazzier feel is desired, other instruments would have been welcomed like a trumpet or trombone. A clarinet might be pushing it but might as well go all out. Extance ends with “Palindrome” which is the longest track at twelve minutes and is one of the best tracks on the album. The melodies are great and the interlude in the middle of the song builds great tension leading to the very monumental ending.

Aenaon have performed a fine feat with Extance. All of the members are fantastic with their instruments, the vocals are crackerjack, and the saxophone is a wonderful addition to an album that could potentially put Greek black metal in the limelight in the future. While at times it seems like the saxophone is overplayed, Extance as a black metal album is refreshing and a great start to 2014. Hopefully in the coming months there will be a lot more publicity for this band as they break 2k likes on Facebook and hit more music blogs.

4.5 / 5
Written by Cole Olson


Chroniques Metal - 22/01/2014

Cela fait maintenant un petit bout de temps que la scène grecque a fait ses preuves et s’est imposée comme un vivier de groupes à la personnalité affirmée et à la patte artistique marquée. Emergeant à la fin des années 80 avec des groupes phares comme Necromantia, Rotting Christ ou Varathron, le black metal hellénique s’est rapidement distingué de celui de ses homologues scandinaves avec un art mélodique plus raffiné et empreint d’un romantisme désespéré et noir. Néanmoins, force est de constater que de nos jours, les représentants de l’art noir se font plus discrets au pays de Zeus, et Aenaon fait indubitablement partie de cette jeune génération qui compte bien renverser la tendance.

Formé en 2005, le combo de Thessalie tente de préserver la flamme de ses aînés en y ajoutant des influences plus modernes, et en 2011, il se fend de son premier full length au titre évocateur, Cendres et Sang. Aenaon évolue dans un style black hybride et inclassable, auréolé d’une sorte de modernité déstructurée aux riffs dissonants, sur un fond plus traditionnel, crasseux et morbide (Grau Diva) et lorgnant de temps en temps vers le bon vieux DSBM des familles. Cette symphonie disharmonique est rehaussée par ce sens du riff mélodique et de la beauté noire typique du black grec (on reconnaît notamment les influences des inévitables Rotting Christ tant dans certains riffs que dans ces fameux blasts à la lourdeur quasi mid tempo typiques du groupe, et le début de Closer to Scaffold fait beaucoup penser à On Thorns I Lay) et par un côté rock n’roll qui explose dans certains riffs et rythmiques. On pourrait également parler d’un mélange des deux Shining, le suédois (avec ce côté suffocant, noir, et claustrophobe, ces riffs rampants, et ce goût prononcé pour les refrains à la fois maladifs et catchy, l’influence est plus que flagrante, écoutez donc le début de A Treatise of the Madness of God, ou le très réussi Palindrome par exemple. De même, la voix d’Astrous se rapproche de celle de Kvarforth dans nombre de ses intonations) et le norvégien (avec ce saxophone aux plaintes acides et lancinantes sur des morceaux comme Deathtrip Chronicle, Der Mude Tod ou Funeral Blues). Le tout est encore noirci par un feeling orthodoxe et des riffs hermétiques et dissonants (Deathtrip Chronicle ou Der Mude Tod) qui rappellent parfois les dernières réalisations de Mayhem.

Vous l’aurez compris, sur ce Extance, il y a de quoi faire, et avec ces 11 compos pour un ensemble de 66 minutes, autant dire qu’il y a largement de quoi combler tout fan de black qui se respecte. Si les influences les plus palpables sont celles de groupes comme Shining (les Suédois, quoi que…) et Den Saakaldte, Aenaon pioche allègrement dans tous les registres de black, ainsi, on peut trouver quelques passages plus épiques (on a même des chœurs clairs et des passages lumineux sur le refrain de Deathtrip Chronicle qui feraient presque penser à du Enslaved!), des ambiances de fête foraine macabre sur The First Art et Funeral Blues qui rappellent immédiatement Pensées Nocturnes, ou des expérimentations baroques lorgnant parfois du côté d’Arcturus (le début de Land of No Water, par exemple, ou Der Mude Tod, avec ses interventions vocales théâtrales et délicieusement décalées).

Le tout est guidé par une volonté évidente de proposer quelque chose de personnel et d’innovant, et avec 5 titres dépassant les 7 minutes (le magistral Palindrome, qui clôt l’album, en fait presque 13!), Aaenaon prend le temps de varier ses paysages musicaux et ses ambiances.

D’ailleurs, un titre comme Der Mude Tod mêle parfaitement toutes les influences des Grecs, condensant avec maestria les différentes humeurs et ambiances de cet opus en maîtrisant parfaitement l’art délicat des transitions, et sonne comme un parfait condensé de l’art noir subtil et personnel du combo, savant mélange de Mayhem – avec ce riff à 1,40 minutes sonnant à s’y méprendre comme celui de You Must Fall, ces blasts supersoniques et ces notes dissonantes et noires – d’Arcturus – avec ce côté expérimental, progressif et halluciné et ses voix claires schizophrènes ainsi que encore une voix, des deux Shining, avec ces riffs sombres et torturés et ce saxophone aux notes aigres et insanes.

Si on reconnaît une indubitable volonté de sortir des sentiers battus et de proposer une musique originale, la diversité de cet Extance, qui fait en partie son intérêt, est aussi ce qui fait dans une certaine mesure sa faiblesse : à vouloir trop en faire, Aenaon finit par se disperser un peu, le tout paraît parfois un peu décousu, et force est de constater que l’album est un peu irrégulier et inégal sur la longueur.

Le tout manque parfois de liant et de cohérence et avec ces 66 minutes, les Grecs ont peut-être été un peu trop gourmands, les titres excellents (Der Mude Tod, Palindrome) alternant avec les pistes plus médiocres (un titre comme Grau Diva, très classique, n’apporte pas grand-chose à la galette, de même, Funeral Blues, pas mauvais en soi, est trop décalé par rapport au reste de l’album).

Ceci dit, Extance reste une réalisation très honnête et dévoile un groupe encore peu connu au potentiel plus qu’intéressant. Avec ce second opus, Aenaon vient grossir les hordes grecques d’un sang neuf et indomptable pour partir à l’assaut du ciel, et les demi-dieux que sont Rotting Christ et Necromantia n’ont qu’à bien s’agripper à leurs trônes s’ils veulent conserver leur place au sommet de l’Olympe…

Review Review 86/100 - 22/01/2014

In Aenaon, Greek avant-garde/progressive metal seamlessly egresses like an avalanche from the 5 members making up the bands core-force, with countless guest appearances adding further texture and scope to an already breathtakingly ambitious album. It has taken me a couple of listens to get my ear around, in the same way I had to go back to bands like Leprous or Ne Obliviscaris. Aenaon has definite similarities, with complex yet tasteful musicianship reflecting an irrefutable craftsmanship – but what really keeps me sealed in is the mixtures of tonal sapidity, from epic thrashy and melodic death metal, to discordant black metal, all tapered with the succinct vision progressive music needs to not get pulled apart by its own ambition. The song ‘Closer to Scaffold’ bares gravid riffs, and stands out to me for the sheer mirth of hearing stalwart pay-offs in the gripping, bunched up expression of an ultra tense palm muted section, leading on to a sludgey curtain call, accompanied by unique vocals. Released on the 20th of January by code666



Metal Underground 4/5 - 22/01/2014

Score another win for Code666 Records: Greek outfit Aenaon is a fantastically varied outfit rooted in black metal and offering an early strong release for 2014. Although more of an experimental album than many bands in the genre would be comfortable releasing, “Extance” remains hugely guitar focused, so it doesn’t ever lose its bearings in all the style mashing.

The dual guitar assault is easily one of the album’s high points, allowing any given song be both melodic and energetic at the same time. On several tracks, the two guitars split off in different directions – one keeping up the tempo in the back and the other taking the melody into the forefront – and it really gives off an Opeth vibe, if Opeth went black metal. The audible bass, jazzy compositions, and wobbly ‘70s keyboards don’t hurt either.

The sax elements on songs like “A Treatise on the Madness of God” are a nice touch, but despite press claims to the contrary, “Extance” is less an avant-garde release and more of just a well rounded, multi-genre one. For the most part the album doesn’t go into crazy Oblomov or To-Mera territory, but there are exceptions even to that rule. Harmonica appears out of nowhere on “Sound of No Water” and “Closer to Scaffold” utilizes psychedelic sound effects and discordant violins. “Funeral Blues” meanwhile hits the weirdness jackpot with big band style strings and horns, and vocals that bring to mind A Sound of Thunder or Huntress.

Listeners will also be served up some I.C.S. Vortex style singing on “Der Mude Tod.” In fact, the chants and clean segments are done well across the whole disc and actually add to the atmosphere – something that’s lacking in a good deal of black metal these days, as it seems like frequently those elements are done by rote without any real effort. “Grau Diva” may be the album’s crowning achievement, hitting all the different styles without going overboard or alternatively not going far enough. There’s atmospheric creepy black metal, weird moaning sound effects, harsh growls, fast paced riffing that brings in influences from outside genres, and then slightly weird synths that flirt with the carnival sound but don’t fully embrace it.

The production on “Extance” is a little muffled, making the disc one to enjoy with some quality headphones. That issue aside, the album is a very solid effort and well worth hearing for anyone who craves a metallic experience that doesn’t stick to one single style.

Highs: Great use of sax and jazzy compositions, fantastic atmosphere, and a dual guitar focus.

Lows: The production isn't perfect, and the weirdness level could really go either way with some wanting more and others wanting less.

Bottom line: Aenaon works all the prog and experimental angles without completely going off the rails, creating a well-rounded black metal experience.

Reviewed by xFiruath


Metallus (It) 8/10 - 21/01/2014

A due anni e mezzo di distanza dal debut “Cendres Et Sang”, ritroviamo con piacere gli ellenici Aenaon con il secondo lavoro in studio, dal titolo “Extance”. Il nostro portale aveva già avuto modo di sottolineare tutte le caratteristiche positive di questo ensamble legato alla scena dell’avanguardia estrema, elaborata in modo personale e ricercato. La nuova fatica non fa altro che rafforzare il nostro giudizio dell’epoca, consegnandoci una band sui generis e forte nello sperimentare con naturalezza e senza forzature.

Nel sound degli Aenaon confluisce un black metal siderale ed elaborato che chiama immediatamente in causa l’estro e l’anarchia esecutiva di acts come Arcturus e Ihsahn, ma non mancano riferimenti ai Satyricon del periodo “Rebel Extravaganza” e “Volcano”, come possiamo intuire dalle oscure divagazioni black’n’roll di “Grau Diva”. “Extance” è un lavoro coraggioso che porta in mente le visioni di David Lynch, attraverso uno scenario onirico e inafferrabile. In questo senso interviene la matrice blues e jazz che i greci rileggono in un’ottica del tutto personale, facendo sì che un black metal pur sempre robusto ma libero da ogni restrizione formale si adagi, ora malinconicamente, ora con aggressiva muscolarità, su ritmi dilatati e fluidi, scanditi da un sax crepuscolare e da atmosfere di reminiscenza zeppeliniana. Il tutto senza risultare mai pretenziosi o salottieri.

Preparatevi alle sensazioni imprevedibili di episodi come “Deathtrip Chronicle”, ricco di soluzioni filo-Arcturus, “A Treatise On The Madness Of God”, un brano decadente e dal forte piglio prog in cui il sax ritaglia un ruolo molto ampio, nonché la moderna “Closer To Scaffold”, dal groove decisamente attuale. Una menzione a parte va riservata alla cangiante “Land Of No Water”, dove gli Aenaon mostrano come anche gli anni ’70 abbiano lasciato un segno tangibile nella propria essenza, dando sfogo alle note dell’hammond, mentre la voce passa dallo screaming al baritonale, oltre a “Funeral Blues”, una canzone fumosa, sorprendente, figlia bastarda di jazz e black metal. Non resta altro che accogliere con soddisfazione il nuovo ascolto che ci viene offerto dal gruppo di Larissa, consigliandolo caldamente ai cultori del metal d’essai.

by Andrea Sacchi


Metal.It (It) 9/10 - 21/01/2014

Chi ha tempo non aspetti tempo: Il 2014 è ancora in fasce, eppure intendo già riservare un posto (presumibilmente di spicco) nella mia top ten di fine anno agli Aenaon. Il gruppo ellenico, sconosciuto al grande pubblico ma già autore, nel 2011, di un esordio di alto lignaggio come Cendres Et Sang, non si limita a confermare le buone impressioni suscitate finora, bensì compie un deciso passo verso la grandezza assoluta.

L’aspetto più impressionante di Extance, a mio avviso, va rintracciato nell’impressionante equilibrio che i nostri sono riusciti a raggiungere: equilibrio tra violenza black e sofismi avant-garde, tra aggressione e finezza strumentale d’ispirazione jazz, tra concretezza e introspezione. Equilibrio che permette loro di sperimentare senza sacrificare l’anima metal, e di ricorrere ad arrangiamenti ricercatissimi senza scivolare nel pretenzioso.
In sostanza, proprio quello che Das Seelenbrechen di Ihsahn non è stato in grado di fare.

La bellissima intro per pianoforte e sassofono e, soprattutto, la fantasmagorica Deathtrip Chronicles, alle mie orecchie, suonano come un guanto di sfida lanciato al (pur grande) Vegard Sverre Tveitan. Le inflessioni progressive, fuse alla perfezione con dissonanze chitarristiche e cori d’immane solennità, immergono da subito in un feeling che, per paradosso, ci appare barbarico ed elegantissimo al tempo stesso. Una cascata di emozioni.

I successivi pezzi chiariscono ancor più che qui chitarra acustica, violoncello, contrabbasso e synth convivono senza forzatura alcuna con un genere che, salvo ognuno, estremo nasce ed estremo rimane.
Ci pensano canzoni come Grau Diva o Der Mϋde Tod a ricordarci che in Extance non trovano accoglienza soltanto avanguardia musicale e raffinatezza: il primo ci spiazza con un bel riffone black’n’roll, rotondo e implacabile; il secondo ci assale con un attacco degno dei cari, vecchi Shining, per poi metterci i brividi con un ritornello maestoso e, da ultimo, sfociare in un’inquietante fuga di sassofono dal sapor mediorientale (come diceva la Nannini). Pezzo geniale, per di più impreziosito dall’interpretazione canora di Sindre Nedland (dei magistrali In Vain).

Ciò mi permette d’introdurre il tema delle ospitate, che spesso e volentieri trovo fini a se stesse. Con gli Aenaon è tutto il contrario: agli special guest vengono confezionati abiti su misura, e fornito il giusto contesto per poter dimostrare tutto il talento di cui sono dotati.
In prima istanza, pare giusto glorificare la prestazione di Haris alle tastiere: se conoscete gli strambi Hail Spirit Noir, non faticherete a rintracciarne il gusto eccentrico. Il suo modo di arricchire le composizioni costituisce l’autentico valore aggiunto del platter.
Parimenti mirabile lo screaming di Mirai Kawashima (proveniente dai sottovalutati Sigh) su The Land of No Water, uno dei momenti più tipicamente symphonic black (nonostante una folle porzione jazz/prog/country in coda).
Strepitoso, da ultimo, l’apporto vocale di Tanya dei connazionali Universe217 (per quel che mi riguarda una delle più belle sorprese del 2013), cui viene assegnata una perla di contaminazione sonora dal titolo Funeral Blues, ideale punto d’incontro tra Janis Joplin ed Enslaved. Forzato? Niente affatto: sentire per credere.

Non che i greci necessitino di aiuti esterni per colpire nel segno: A Treatise on the Madness of God (gran bell’assolo di chitarra) e Closer to Scaffold, dal feeling apocalittico, impressionano forse meno di altre al primo ascolto, ma concedete loro tempo, e sapranno premiare la vostra pazienza.
Addirittura pazzesca la conclusiva Palindrome: dodici minuti abbondanti di intuizioni melodiche, di strumenti che s’inseguono, di chiaroscuri emotivi… e di linee vocali prese gentilmente in prestito dagli Arcturus.
Ma non è il caso di sottilizzare.

Anzi, rilancio scrivendo che Extance non è solo il miglior modo per ingannare l’attesa in vista del ritorno discografico dei succitati Maestri: è addirittura un diretto concorrente e uno scomodo metro di paragone. Per la band di ICS Vortex ed Hellhammer sarà molto, molto dura far meglio.

Recensione a cura di Marco Cafo Caforio


Bleeding4Metal (De) 8.5/10 - 21/01/2014

Saxofon, Keyboard, schräge Gitarrentöne, aberwitzige Einfälle und vertrackte Songstrukturen muss lieben, wer "Extance" klasse finden will. Oder anders gesagt: Post/Avant Garde/Progressive/Experimental/Extrem Metal sollte man mehr als nur zugeneigt sein, um sich für "Extance" begeistern zu können. Wer sein Metal-Traumhaus mit diesen Bausteinen plant, für den ist der zweite Longplayer von AENAON Pflicht.

65 Minuten tobt das seit 2005 aktive Quintett tolldreist durch extreme Stile und häuft auf seine düster-bunte Platte so viel, wie eine Schublade nicht fasst. Heftige Blasts, die tief im Schwarzmetall verwurzelt sind, sanfte Entspannungsmomente, die ambiente Loungestimmung heraufbeschwören oder der entfesselte Gesang von Tanya (UNIVERSE217), die dem 'Funeral Blues' kochend heißen Blues in die jazzschwüle Atmosphäre drückt, sind Hürden, die man gerne nimmt, garantieren sie auch beim x-ten Durchlauf großartige Momente. Immer wieder zerschreddern harte Gitarrensoli diese Glücksmomente und reißen tsunamigleich alles mit, was eben noch solide und unverrückbar auf seinem leicht zuzuordnenden Genreplatz stand. Der Abwechslungsreichtum ist dabei so unvorhersehbar wie beindruckend, die spielerische Finesse glanzvoll. Die unzähligen Details ergeben ein voller Hingabe gestaltetes Ganzes.

 Neben Haris (HAIL SPIRIT NOIR), der für zusätzliche Effekte und Synthieeinsatz zur Stelle war, trugen mehrere Gastmusiker dazu bei, unter anderem Akustikgitarre, Saxofon, Klavier, Kontrabass ins Gesamtbild einzufügen. Gastgesang steuerten Sindre Nedland (IN VAIN, FUNERAL) in 'Der Mude Tod' und Mirai Kawashima (SIGH) in 'The Land Of No Water' bei. Gemastert wurde "Extance" von Tom Kvålsvoll im Strype Audio, Oslo und das mehr als bemerkenswerte Artwork stammt vom polnischen Künstler Łukasz Wodyński.

Die absoluten Anspieltipps heißen: 'Der Mude Tod' und 'Funeral Blues'
Gesamtwertung: 8.5 Punkte
Review von grid


Absolute Zero Media (Us) - 19/01/2014

So we have another mind blowning Post Black metal Avant musical journey that will just leave you feeling there is hope in the underground music scene to be all you hoped it could be.  You know what your getting here elements of Prog, Jazz, Black, Doom and Melodic Cold Death metal in the way Satyricon, Code, Mayhem, Emperor, Arcturus and Borknagar took it and Virus, Shining , Ulver and DHG changed it forever.. I just could listen to this band for weeks and find something new in the tracks each time.

Aenaon is not for the begining travel into extreme metal music this is for the seasoned passenger or for the prog and avant rock fan that want to hear it done in a very odd and metallic manner. Every time I hear those wonderful Dis harmonic Post Metal riffs with the jazz horns I want to raise my hands and let the world know I have music close to my heart and its mine and most will never have this joy in their lives and for that I thank Aenaon and CODE666....


Battle Helm - 17/01/2014


This band I remember from their previous album. I really liked what I heard the last time around. So with a new album just around the corner it is with great expectations that I approach this one. Will they be able to top the previous one or will I be let down majorly? It does start on a promising note. This might be a Greek band but the first thing that struck me was how Norwegian this sounds. Like a combo of Borknagar and Arcturus. And since that is two bands that I like a lot I have nothing against AENAON sounding like either. This is progressive black metal. No, it is not an oxymoron. It might sound like a strange combination on paper but in reality it works wonders. Just as great as I expected.

Anders Ekdahl


Ave Noctum - 16/01/2014

From the progressive end of the impressive Greek black metal spectrum come Aenaon. This is their second album. With strong instrumentals and exaggerated swathes of darkness at the heart, “Extance” spends around an hour covering a lot of ground.

To start with, the bombastic and dark tones reminded me of my old friends Devilish Impressions. “Deathtrip Chronicle” has symphonic blackness and threatening sparks in the floaty chorus, but then from somewhere a jazz sax comes in. The song is driving, compelling, thumping in its beat and impressively constructed. Gnarly fast-paced black metal follows. “Grau Diva” is Norwegian in style. Big sounds mingle with flourishes, creating a progressive edge to this dark landscape. I haven’t heard the harmonica in a while but it’s here on “Land of No Water”. There’s classical piano on “Closer to Scaffold” and that sax reappears on “Funeral Blues”, which has the playful air of black metal vaudeville but it’s the whole rather than the parts which impressed me. The drums trigger sometimes and always dominate with their strong and sophisticated patterns. Here and there I thought of Septic Flesh as I listened to the re-enactment of a relentless driving force. It’s dark as if it has been hired in from Hades yet it’s melodic. Above all “Extance” is expansive and full of sparks and imagination. At the core are strong and enveloping songs, none more so than the 12 minute epic “Palindrome” which closes the album with typical ferocity. The range of heavy metal instrumentals is strong but there’s an emotional edge.

There’s a lot to take in here on “Extance” but equally listening to a full-out experience such as this is rewarding.

(7.5/10 Andrew Doherty)


Kaosguards (Fr) - 16/01/2014

Des leur premier album portant un titre en francais, « Cendres et Sang » (2011), les Grecs d'AENAON avaient expose leur ambition d'emmener le Black Metal vers des tendances evolutives, d'ou l'etiquette de Progressive Black Metal.

Avec « Extance », AENAON hausse encore le niveau de jeu, proposant un Black Metal agressif, imperieux, rapide et surtout aventureux.

Entendons-nous : si AENAON part de bases Black Metal pour chercher l'aventure, le resultat ne sonne pourtant pas comme une demonstration pedante et gratuite. Ainsi, si les structures sont globalement complexes, toutes les compositions possedent toutefois une ossature solide et logique, avec des reperes suffisamment evident pour que l'efficacite demeure maximale. Par ailleurs, AENAON parseme ses titres d'arrangements plutot classiques mais bien amenes (variations de registres de chant, avec plusieurs invites, arpeges de guitare, claviers) mais aussi assez oses (saxophone, harmonica, effluves Blues Western sur le titre Funeral Blues, break de percussions sur Palindrome). Ces arrangements n'apparaissent jamais comme des pretextes puisqu'ils rehaussent les parties plus classiques.

Meme dans les elements relevant strictement du Metal, le groupe a construit un equilibre entre plusieurs tendances. Les riffs apres, les rythmiques effrenees, le chant guttural (un peu a la ENSLAVED) sont vomis par la gueule immonde du Black Metal. Mais des variations plus rugissantes dans le chant apportent une touche plus Death Metal (si l'on songe a MORBID ANGEL ou DISSECTION). Surtout, l'extreme melodicite des guitares temoigne d'un classicisme Heavy Metal de bon aloi.

A un tel niveau d'excellence et d'exigence, on ne peut que s'incliner et remercier AENAON d'eloigner le spectre de la mediocrite. Chapeau bas, messieurs.

Alain Lavanne


Rock Overdose (Gr) 90/100 - 14/01/2014

Οι Aenaon είναι αναμφίβολα μια από τις μπάντες οι οποίες, από την πρώτη τους κιόλας κυκλοφορία με τίτλο " Cendres et Sang” 2011, ύψωσαν και θα συνεχίσουν να υψώνουν το ανάστημα της εγχώριας metal σκηνής!!! Πρόκειται για ένα από τα πιο "ώριμα" σχήματα στιν Ελλάδα και αν λάβει κανείς υπ όψιν και την δεύτερη full-length δουλειά τους (για την οποία γίνεται λόγος), οι Aenaon χρόνο με τον χρόνο εξελίσσονται και σίγουρα θα συνεχίσουν να μας χαρίζουν πολύ καλές μουσικές στιγμές...!!

Το "Extance" είναι γεμάτο εκπλήξεις. Κατά την διάρκεια τις ακρόασης εκεί που αναρωτιέσαι μέχρι που μπορεί να φτάσει η έμπνευση και η μουσική ευφυΐα αυτής της μπάντας, ξεφυτρώνουν απ' το πουθενά κομμάτια όπως τα "Der Mude Tod", "Closer To Scaffold", "Funeral Blues" και "Palindrome" να σου καταρρίψουν κάθε δεδομένο.

Η μουσική τους είναι ο ορισμός(αν υπάρχει τέτοιου είδους ορισμός) του experimental/avant-garde/progressive (δεν ξέρω και εγώ τι άλλο..) Black Metal. Το μόνο σίγουρο είναι ότι για να φτάσει στα αυτιά μας το αποτέλεσμα που έχουμε την τιμή να ακούμε αυτή την στιγμή, έχει προηγηθεί πολύ δουλειά. Στο "Extance" εκτός από το Black Metal στοιχείο, μπορεί να βρει κανείς Jazz και Blues περάσματα καθώς και να χαθεί σε ένα ατελείωτο μουσικό ταξίδι μέσα απ' τους ήχους του σαξόφωνου, της ακουστικής κιθάρας, του πιάνου, του τσέλο, του κοντραμπάσου ,της αρμόνικας κα του απίστευτου "παντρέματος" των καθαρών και black metal φωνητικών...Όλα αυτά τα μουσικά στοιχεία και όργανα είναι ενσωματωμένα στις συνθέσεις των Aenaon πολύ "ομαλά", με έναν τρόπο που σε κάνει μετά από μερικά λεπτά ακρόασης να τα θεωρείς απαραίτητα και να τα αναζητάς, είναι λες και αποτελούν αναπόσπαστο κομμάτι του δίσκου (και σε καμία περίπτωση δεν κουράζουν ). Μέσα σε όλα αυτά έρχεται να προστεθεί μια πολύ καλή και προσεγμένη παραγωγή και ένα artwork το οποίο αντικατοπτρίζει πλήρως το περιεχόμενο του δίσκο.

Άξιες αναφοράς είναι και οι συμμετοχές-συνεργασίες του δίσκου, οι οποίες είναι πολλές και απόλυτα εύστοχες. Το mastering έχει επιμεληθεί ο Tom Kvålsvoll (Dødheimsgard, Borknagar, Emperor) ενώ guest φωνητικά έχουν κάνει οι: Mirai Kawashima (Sigh) για το "Land Of The Water" , Sindre Nedland (In Vain / Funeral) για το "Der Mude Tod", και η Tanya (Universe217) για το "Funeral Blues" (ένα από τα πιο "περίεργα" και συγχρόνως ωραία κομμάτια του δίσκου). Τέλος την εικονογράφηση έχει αναλάβει ο Łukasz Wodyński.

Το "Extance" είναι ένας δίσκος ο οποίος δεν απευθύνεται μόνο σε οπαδούς του Black Metal και δεν πρέπει να λείπει από καμία metal δισκοθήκη. Πραγματικά είναι μια από τις καλύτερες κυκλοφορίες που έχω ακούσει τα τελευταία χρόνια!!!

Βαθμολογία: 90/100


Disctopia (De) - 13/01/2014

“Extance” der griechischen Formation AENAON gehφrt definitiv nicht in die Kategorie “seicht & einfach zugδnglich”. Auch nach mehrmaligen Durchhφren der Scheibe fδllt das Review ausgesprochen schwer und ein griffiges Aufarbeiten der Eindrόcke scheint nahezu unmφglich. Daher machen wir zuerst einen Ausflug in die Geschichte von AENAON. Diese fόhrt uns zurόck ins Jahr 2005.

In jenem Jahr ersann Bassist Thyragon die Idee “Aenaon”, doch so richtig vollstδndig wurde das Lineup erst in den folgenden Jahren. Eine stabile Verbindung wurde 2012 erreicht, mit dem hinzustoίen von Drummer Nycriz und Gitarrist Anax. Dass die Truppe mit AENAON nicht primitive Kellermusik darbietet, wird spδtestens nach einem Blick in die Vergangenheit der einzelnen Bandmitglieder ersichtlich. Diverse metallische Projekte prδgen den Lauf der AENAON Truppe.

Das Debόt “Cendres Et Sang”, 2011, konnte ganz akzeptable Resonanz erzeugen, verschaffte es jedoch nicht, sich im Gedδchtnis der Metal-Szene festzubeiίen. Zu speziell und zu verspielt sei das Werk. Auch der nun vorliegende Nachfolger “Extance” folgt tapfer diesem Pfad. Soviel vorab: die Masse werden AENAON damit garantiert nicht erreichen. Aber das ist wohl auch gar nicht die Absicht dahinter. Die Band besticht mit sehr verschlόsselten Botschaften und frδgt nach dem eigenen Bewusstsein. Dabei werden komplexe Meta-Netze gesponnen, die sich nur schwer interpretieren lassen.

Stilistisch bewegen wir uns im Gefilde des Black Metal. Doch wird dieses Theme mit einer unglaublichen Rohheit beschnitten und aufgebohrt. Es finden sich neben avantgardistischen Elementen auch Eigenschaften des Symphonic Metal und des Doom Metal. Ganz zu schweigen vom Jazz und Blues.

Sδnger Astrous versteht es dabei sich dem jeweiligen musikalischen Gewand anzupassen, auch wenn er stimmlich mehrheitlich dόster, growelnd bleibt. Der Gesang durchgδngig verstδndlich und tδnzelnd auf der Kante zum unverstδndlichen. “Extance” klingt sehr dόster und driftet gelegentlich in δuίerst dunkle Ecken der Existenz ab. An dieser Stelle zeigt sich das Potenzial der drei Gitarren, die ein gewaltiges Klangbild erschaffen und die Dόsternis merklich verstδrken.

Und mittendrin finden sich Stόcke wie “Pornocrates”. Mehr Jazz denn Metal und der Gesang mehr ein befremdliches Flόstern den Growls. Damit wird der geneigte Hφrer vφllig aus dem Konzept gerissen, wodurch der Genuί der Scheibe wirklich zur Arbeit verkommt.

Als konventionellstes Stόck habe ich “Land of no Water” auserkoren. Klassischer Black Metal mit absolut hasserfόllten Screams/Growls. Dabei beackern AENAON bekanntes Terrain – wodurch sich der Song als Einstieg in die Welt von AENAON anbietet.

Und auch Frauengesang darf nicht zu kurz kommen. “Funeral Blues” ist ein wilder Mix und pures Chaos. Blues meets Metal meets Wahnsinn. Mal rast der Song, mal schleicht er vor sich hin. Mal schnell, metallisch und intensiv, mal langsam, vertrδumt und bluesig. Ein Zwitter ohne Herkunft und ohne Heimat.

Bei AENAON werden sich mit absoluter Gewissheit die Geister scheiden. An und fόr sich ist “Extance” ein ausgesprochen interessantes Werk. Es besticht durch eine unglaubliche Innovationskraft und vielen kόnstlerischen Ideen. Doch bin ich mir nicht abschlieίend sicher, ob dieser Cocktail nicht besser ohne einige Zutaten auskδme. Wem gewφhnlicher, infantiler Black Metal zu langweilig ist, der kann hier mal ein Ohr riskieren.


Metal Sound (Rs) 7/10 - 13/01/2014

Aenaon are coming from Greece and ”Extance” is their second full-length. The musical style of these Greecs could be labeled as a sort of mixture between black and death metal but with obvious avant-garde influences. Some links with their county mates Septic Flash are also welcome.

”Extance” is a quite mature record and its hard to say if it could be better on anyway. if you like this sort of music, with many breaks and surprise parts (like jazz elements) then you are invited to enjoy in their music and sound, but if you are more forward person then this is not a band for you. But, anyway all should agree that this band and their recording has a quality too offer (and there’s no question about it). The production is quite well done, very suitable for the music preformed. the entire album is based on brutal riffing (more death then black metal). the vocals are weird as psychedelic; a kind of mixture between growls, screams and being regular. Here and there one could even hear the keyboard lines.

All in al quite a good record, I am not so much into this style but they have quality to offer so if you are more open minded check it out. We will surly give this band support so check out the interview.

Marko Miranovic 7/10


Mainstream Music. Not (Ir) - 08/01/2014

Aenaon - Extance (2014)

Blood dripping from the altar , malformed bodies scattered on the floor , the reign of madness reeking with the stench of rotting flesh and the presence of death only a wavering thought in the face of the greater crime that stains the walls of this monastery , but on those walls are strange paintings , magnificent and detailed , of that other world , that place of horrible comfort.

This is the place that the new album from Aenaon takes me to , I remember listening to their debut "Cendres et Sang" in 2011 and while it was not one of my instant favorites , it was clear that I have to watch out for this band. Their formidable and challenging style of Avantgarde/Progressive Black Metal , fully realized on Extance , is not easy to digest , with Black Metal dominating the Prog side , the music is something rich , heavy and powerful . Aenaon certainly do not joke around with their music , unholy riffs after riffs supported by jaw-dropping performance on each instrument , inimical vocals and also some crazy stuff going on the background or sometimes taking the front , be it the piano , saxophone , cello , harmonica or other things considered abnormal inside Metal.

But all things considered , this album is serious ... or I should say evil enough to keep the Black Metal crowd interested , Aenaon's music is firmly structured and there's nothing to weird you out , at the same time it sounds original. There are also some guest performances , some synths and effects by Haris , from their label-mates Hail Spirit Noir , and people from Sigh , In Vain and Universe 217 contributing vocals. great guests one and all but not the reason you should listen to this album , Aenaon is that the reason ... the band has created an innovative , crushing album that's gonna satisfy the fans of the debut , probably more than they originally expected , and also bring in new fans given that Extance is simply killer.

January 20th people.



the Kvlt (Gr) 9/10 - 07/01/2014

AENAON - Extance
Genre: Avant-garde / Progressive Black Metal
Country: Greece
Label: Code666
Year: 2014
Type: Full-length

Avant-garde-ly approached black metal mixed with a phenomenal progressive “openmindness”; “Extance” (their second album) utilizes the sharpest arrows of extreme metal’s quiver. Aenaon have managed to ascend above the cliches of an entire genre of prejudiced and regressive minds. The whole album’s built upon the notion of freedom; every single song’s a different piece of a generalized artistic wideness. Greek traditional instruments, saxophones, piano and synthesizers have been recruited in an effort to celebrate the revival of black metal’s true essence: absolute freedom of expression.

In detail, “Extance” sets the beginning of its journey with an amazing intro composition, entitled “The First Art”. All of the aforementioned heterogenous elements appear within this three-minute piece of extravaganza. What follows is “Deathtrip Chronicle”, a song that indicates the fact that Aenaon’s heading for the groove! An idea that’s confirmed some minutes later with “Grau Diva”, the ultimate concert- oriented song of the album, upbeat in its groove yet still too avant- garde for the average mainstream black metal fans. The synthesizers on this song stand out as truly remarkable, a vintage touch of a sweet melancholy added by Haris of Hail Spirit Noir (sic)! “A Treatise on the Madness of God” comes next, in a jazzy – rock manner and functions as a decelerating intermediate between “Grau Diva” and the album’s best song, “Der Mude Tod”. The song begins with a Behemoth – “Slaves Shall Serve” vocal outburst in German (!) to lead one of this year’s best black metal songs. “Der Mude Tod” is a tribute to the Norwegian inheritance of the ‘00s, modern and fascinating. At this point, other bands would have ended their album, closing with an outro song, but Aenaon drown even deeper in their sea of ideas. “Pornocrates” appears as a tiny break, just to introduce a bluesy styled face of the band that conjures the Norwegian past to the Swedish present and bands such as Shining in the track which follows, under the name “Closer to Scaffold”. The weird thing about this song is the fact that two bands with the same name come into mind at the same time while listening to it. Shining from Norway, with their jazzy cloak being present in this song and Shining from Sweden on the other hand, in the groove and the melodies. Moving onwards to the next level, there come a duo of interesting pieces, “Land of No Water” and “Algernin’s Decadence” that prepare grounds for the big surprise of “Extance”, a song named “Funeral Blues”. Tania from the Greek super- avant-garde doom horde Universe 217 sings as an ancient Greek Siren, to the end of time. Outstanding performance. Outstanding song. What also took me by surprise is Aenaon’s risky choice to end their album with a twelve (yeap, that’s right!) minute song! “Palindrome” stands as a big fuck you towards anything commercial, like an interesting, but stubborn old fellow!

Before I end this thing of mine, I’ d like to acknowledge some interesting facts about “Extance”, such as its cutting edge production taken care of by Tom Kvalsvoll at Strype Studios and the magnificent artwork created by Lukasz Wodynski, who seems to have become Aenaon’s guru artist as it’s the second time he dresses their work with his art. All in all, “Extance” fulfills all of the expectations that “Cendres et Sang” had cultured a couple years ago. Hethre’s one of the most outstanding albums you’ve heard over the past years within the extreme scene; shall I restrict this to the smaller in size Greek scene? Uneven. The Greek scene should be proud of Aenaon. Dig it or die!

Βαθμός: 9/10
by Sanctus


Metal Temple 9/10 - 06/01/2014

I for one am always on the lookout for diversity in a metal band; an extra icing on a metallic cake. Greek Black Metal band take a highly progressive approach to Scandinavian-inspired Black Metal by incorporating arrangements and instruments not normally found in the genre, much like Norwegian kings BORKNAGAR. In fact, some guitar solos are replaced by saxophone solos, which also, the odd time, shares a moment with the bass. We can't go wrong with blackened Jazz, now, can we?

The experimental intro opens up into "Deathtrip Chronicle", honoring NAGLFAR in its sound; in fact, it sounds like something straight off their "Sheol" release. This churning and driving track incorporates wailing, bleak guitar melodies with chanted choral vocals, with traditional Black Metal elements. Even by half way through it is beginning to play much like an EMPEROR track. On a total flipside is "Grau Diva", where a driving, mid-tempo pulse is incredibly reminiscent of SATYRICON. However, it still manages to incorporate its fair share of unusual ambience and melodic arrangements. Almost unheard of on a Black Metal record, in addition, is a guitar solo; rather technically and masterfully performed at that. "Der Mude Tod" is definitely one of the more conventionally Black Metal tracks on this album, and is deathly and grim throughout. The perfect blend of blast beats and tremolo guitars never fail to evoke such an atmosphere; the track only gets faster and more brutal as it progresses… Until we arrive at an exotic passage dominated by an ethnic rhythm section and a saxophone melody, which grows into a 'solo'; inexplicably weird, yet effective.

"Closer to Scaffold" is proof again of the diversity that this band is capable of within what is, ordinarily, a somewhat restrictive genre; it leans closer towards Melodic Death Metal, with a greater guitar melody presence, and a more defined focus on chugged guitars, as opposed to fast tremolo riffs. Perhaps the most important track on this record, and also my favorite, is the near-13-minute monster, "Palindrome". This is an example of progressive extreme Metal at its finest. A powerful build up explodes into a gorgeously-whiney guitar solo, and there is a much greater presence of pained clean vocals. The individual passages within this track sound even more intelligently arranged than in previous tracks, and the extent of each of the members' musicianship is much more fully explored, focusing on technicality and diversity than speed and heaviness.

As a person with tastes deep in a progressive and power metal background, it is often (unfortunately) difficult for me to get into Black Metal music, whose wall of sound an inaccessibility often does not outweigh the usually-deliberate lack of technical expression. However, with a band like AENAON one can expect the best of both worlds.

9/10 by Daniel Fox


Metal Hammer (Gr) 8/10 - 05/01/2014

Stellar master elite

Είναι πραγματικά χαρά μου, κάθε φορά που παρουσιάζω δουλειά ενός αξιόλογου ελληνικου συγκροτήματος.Πόσο μάλλον όταν σου επιβεβαιώνει την δυναμικη του και την εξελικτική του πορεία με κάθε του νέο βήμα. Έτσι και οι Aenaon, από το "Phenomenon" EP (όταν και είχα πρωτοέρθει σε επαφή μαζί τους) μέχρι και τη φετινή τους δουλειά, "Extance", δεν έχουν σταματήσει να με εκπλήσσουν ευχάριστα.

Τι έχουν να μας προσφέρουν στη νέα τους δουλειά; Σίγουρα ποικιλία, δυναμισμό, πολλές-πολλές ιδέες και, φυσικά,εξαιρετική μουσική. Πάντα προσπαθούσαν να μην περιοριστούν στις βασικές αρχές του black metal ήχου (γιατί, κακά τα ψέματα,εκεί βασίζονται) και ειδικά στο "Cendres et Sang" όχι απλώς ξέφυγαν, αλλά δημιούργησαν ένα λαβυρινθώδες μουσικό τοπίο. Εδώ, αν και φαίνεται ότι και πάλι δεν θέλουν να βάλουν φραγμούς όλο αυτό τους βγαίνει πιο φυσικά,πιο βατά για τον ακροατή,παρόλο που οι μουσικές εναλλάσονται σαν τα διαόλια σε αυτόν τον καμβά prog black metal ήχου.Τρομερό παίξιμο απ' όλους,φοβερή εκτέλεση κομματιών και μία παραγωγή γυαλί (όχι πλαστικό, έτσι;) ολοκληρώνουν αυτό το πολύ δημιουργικό

Οι Aenaon έχουν καταφέρει κάτι που δίνει πολλούς πόντους σε μία μπάντα που κάνει τα πρώτα της δισκογραφικά βήματα : όταν ακούσεις τον δίσκο, δεν θα πεις "α, παίζουν σαν τους τάδε", και αυτό δεν είναι καθόλου εύκολο κατά τη γνώμη μου. Σφυρηλατούν έναν πολύ προσωπικό ήχο, ξέρουν πού βαδίζουν κι έχουν ένα σαφές όραμα για τη μπάντα τους. Θέλουν με το black metal τους να είναι καυστικοί,να είναι θεατρικοί, επιθετικοί, αγρίμια, ελιτιστές (με την καλή έννοια) και πάνω απ' όλα θέλουν ο ίδιος ο ακροατής ν'απολαύσει αυτό που θα βγει από τα ηχεία του. Εγώ, πάντως, το απόλαυσα και θα συνεχίζω να το κάνω. Εσείς;



Against Magazine 9/10 - 05/01/2014

On “Extance” Aenaon have set out to explore the boundaries of the black metal genre by incorporating diverse styles within its traditional structures. The band frequently jumps between metal, alt rock and bluesy territories on a sophisticated manner, but even when stripped of all their different incursions through all these musical avenues, one also notices that this isn’t your typical black metal act. Sure, the musical ethos is present, but the song structuring occasionally meddles with death metal’s precision and places an outstanding emphasis on melody and arrangements without any kind of gratuitous aggressiveness.

Most of the riffs sound dark, imposing and malevolent, but they end up serving as bridges between all the stylistic changes and throughout “Extance”, its not unusual to hear them connect saxophone solos, unorthodox keyboard sounds, bluesy guitar interludes and acoustic dwellings with surgical blast beat discharges. It’s an amalgam of bold ideas, which are often happening within the same song and will present the listener with several ”wow, this is odd” or “this shouldn’t exactly be here” thoughts. As strange as this may appear, it all connects, these being the symptoms of a perfectly healthy musical schizophrenia. If you listen to the whole album from one end to the other, there’s a coherence to their sound that works astonishing well, as if “Extance” was a showcase of different sides of the same beast.

Aenaon deserve the greatest of compliments: There are times when they certainly sound like nothing else out there. “Extance” is masterfully executed and represents a clear sign of defiance on some of the musical norms and constrictions of the black metal domain. A must listen.

by Luis Alves


Lords of Metal (Nl) 87/100 - 04/01/2014

About three years after the rather excellent and unique debut Cendres Et Sang the Greek avant-garde black metal band Aenaon is back with a second album called Extance. What to expect from a band that likes to incorporate a lot of elements and influences into their music to create something fresh and progressive? Well, like on their debut: clean vocals, growls, jazzy saxophone, blast beats, progressive elements and groovy parts. Either all in one song or scattered along the album. Complex songs that will turn your head, technical prowess and daring choices in the arrangements. It is hard to describe Aenaons music, but comparisons to Solefald, Code and Ihsahn are not far-fetched. Also, it seems that recent Shining (the Swedish one) has rubbed off some elements as well. Though, Aenaon is definitely more direct and aggressive, but still subtle in their own right. Aenaon has become more sophisticated without sacrificing their freshness and eagerness. Highly recommended for fans of progressive extreme metal.

by Roel de Haan


Infernal Masquerade (Us) 90/100 - 01/01/2014

Delivering their most high-octane release to date, Aenaon returns with the punishing “Extance”. Hailing from Greece, this band has managed to push the boundaries of Black Metal with their previous efforts and this one is no different. Mixing Avant-garde/Jazzy elements into a well-structured Progressive Black Metal core, this release sees the band further refining their craft into near perfection through the 11 songs presented here.

The band’s incisive riffing and commanding vocals are immediately felt with the intro “The First Art” blending into “Deathtrip Chronicle”. Excelling in creating killer guitar melodies, Aenaon has managed to further refine their sound since “Cendres et Sang”. The tempo changes and vocal arrangements are other factors that make the band’s music instantly be recognized. The Avant-garde weirdness we love form the band starts to shine with the upbeat “Grau Diva” and its intricate arrangements.

Perfectly balancing their aggressive BM side with their experimental elements, the band never reduces its intensity and creativity with tracks like “A Treatise on the Madness of God”, “Der Mude tod”, and “Closer to Scaffold”. All these songs remind us of a mixture of Borknagar and Arcturus, but with the unique signature of Aenaon all over them. Our favorite element in the band’s previous releases is the jazzy atmospheric elements they use, a clear example of this is on the eerie “Land of no Water”.

Our favorite track in this release is the Lounge/Improvisational Jazz piece “Funeral Blues” that features Tanya Leontiou (Universe217) on vocals that sound like Agnete M. Kirkevaag of Madder Mortem fame. Closing with the cinematic “Palindrome” the band really sets the bar quite high in the last two tracks of this release with excellent experimental passages mixed into lush atmospheric elements and cold-blooded BM onslaughts.

“Extance” marks the evolution of Aenaon into a force to be reckoned with. The band never strays away from their harsh Black Metal elements, finding new ways of incorporating progressive and trippy elements in every song. If the band keeps evolving like this, other acts should watch out. If you are looking to spend your Xmas money on something, make sure it is this awesome release the one you purchase.

Rating: 90/100
by Dark Emperor


Rock Metal Essence (It) 92/100 - 01/01/2014

Artista: Aenaon
Titolo: Extance
Genere: Progressive Black Metal
Anno di uscita: 2014
Provenienza: Grecia
Etichetta: Code666 Records
Voto: 92/100

E' appena iniziato il 2014 e la Code666 Records piazza gia il primo colpaccio assicurandosi la pubblicazione (fissata per il 20 gennaio) del nuovo e
secondo full-length della formazione progressive black metal greca dei Aenaon, intitolato Extance.

Un disco che vede una netta maturazione in seno al gruppo, oggi autore di un progressive davvero affascinante e capace di unire all'interno del suo sound le piu svariate influenze.
In esso, tutto si muove dai canoni della tradizione black metal per arrivare al gusto progressivo di tante realta di transizione, toccando poi in alcuni rallentamenti la musica atmosferica alla Tiamat e, udite udite!,
persino il jazz, come testimonia il sax contenuto nella superlativa traccia Deathtrip Chronicle, primo vero manifesto musicale di questa pubblicazione. Nulla in questo album e lasciato al caso, ogni suono brilla
di luce propria ma fa da panorama di un intero e raggiante firmamento, con un metal vorace ma raffinato, feroce ma con gusto, dove il chaos e l'odio si muovono a braccetto per risvegliare paure, emozioni.

Da rilevare, ed e una particolarita per il gruppi d'impronta black, una enorme prestanza tecnica di ognuno dei componenti, tutti davvero virtuosi e amalgamati a meraviglia in un songwriting ricco ed ispiratissimo.
Echi, vortici, turbini, venti infernali e quan'taltro si muovono assieme e creano un vero manifesto di quello che il black progressivo dovrebbe essere, per una release tra le piu belle mai pubblicate per questo genere.
Assoli e riff immensi, vocalita graffiate, letali, e una sezione ritmica mastodontica: impossibile chiedere di piu. Ascoltate brani come Grau Diva, Der Mude Tod, Polindrome, e capire il perche di tanta mia esaltazione.


Scritto da Iacopo Mezzano


Metal Wave (It) 78/100 - 28/12/2013

‘Extance’ è uno di quei dischi fondamentali che non dovrebbero mai mancare nella discoteca di un collezionista amante anche della musica coraggiosa e spinta verso canoni estetici ben diversi e, per certi versi, anti-commerciali.
Questa graditissima seconda uscita su lunga distanza della combo greca in questione è un tipo di musica che si trova oltre a molti generi musicali eppure riesce a farsi comprendere a piccoli passi avendo pescato a piene mani nel mondo del metal estremo, solo come base di partenza, e riuscendo anche ad avere dei punti di contatto con il mondo del Progressive Rock, dell’avanguardia in generale, dell’innovazione ardimentosa, del disinteressamento totale verso una scena ristretta a qualcosa di già sentito. No, questi Aenaon –posso dirlo con quasi certezza- difficilmente suonano una musica che potreste aver già sentito da qualche parte.
Interessanti tutte le composizioni che si strutturano in modo tale da devastare qualsiasi architettura di forma-canzone. Innovazione per il semplice fatto di aver inserito persino strumenti musicali atipici come il sax e l’armonica ma anche per aver dismembrato molti dei canoni del Black/Death Metal ed aver “farcito” il tutto con i risultati di una creatività mostruosa.
Esempi lampanti sono ‘Deathtrip Chronicle’, la splendida ‘Der Mude Tod’, la teatrale ‘Closer to Scaffold’ l’opethiana ‘Land of No Water’, il blues malato e sguaiato di ‘Funeral Blues’ e la lunga composizione finale di ‘Palindrome’ che riesce a riassumere molti dei concetti meramente musicali dell’intero ‘Extance’, disco che non posso che consigliare a tutti gli amanti della sperimentazione (quella vera e funzionale, bentinteso).
Musicisti eccezionali che suonano musica eccezionale. Nient’altro da dire ma molto da ascoltare. A voi.

Track by Track
The First Art [70]
Deathtrip Chronicle [85]
Grau Diva [75]
A Treatise on the Madness of God [75]
Der Mude Tod [85]
Pornocrates [65]
Closer to Scaffold [80]
Land Of No Water [85]
Algernon's Decadence [70]
Funeral Blues [85]
Palindrome [85]

Giudizio Confezione
Qualitΰ Audio: 90
Qualitΰ Artwork: 65
Originalitΰ: 90
Tecnica: 90

Giudizio Finale

Carnival Creation


Heavy Metal Tribune (Sg) - 27/12/2013

Aenaon [Greece]
Full Length
Code666 Records
Avant Garde/Black Metal

Greek black metal outfit Aenaon left me raving after their debut album Cendres et Sang in 2011, with the unique fusion of black metal and jazz to create a rather unique, though not unheard-of sound. 3 years on, the band releases the follow up in the form of Extance, and with the high note that they left off for me on Cendres et Sang, my expectations are naturally rather high for their sophomore full length release.
Kicking off the album with the classically-inspired instrumental The First Art, the band leaves one hanging in eager anticipation, and with little warning, one is treated to a nice melody by saxophones, quickly reminding one of some of the more avant-garde moments of Ihsahn‘s solo album, especially the sax-heavy album After. The similarities that one draws to the progressive metal efforts of Ihsahn continues on Deathtrip Chronicle, especially so with the gruff vocals of Astrous.
Right from the start, the melodic and emotional aspects of Aenaon‘s craft are still rather evident, from the dark and melancholic atmosphere that is evoked with the classical instrumentation, to the depression and desolation that one feels with the riffs unleashed by guitarists Achilleas and Anax as well as the desperate shrieks and growls of Astrous. The overall atmospheric experience is topped by the operatic layering of clean singing that remains pretty prominent throughout the album.
On Extance, the band pushes the boundaries that they have set on Cendres et Sang even further, with the black metal edge being much higher on this album, with unprecedented negativity that is emanated through the music of Aenaon, with songs like Grau Diva even giving off a slight Satyricon, black ‘n’ roll vibe. There are even more chaotic moments as well, and one often can’t help but draw comparisons with other similar, avant-garde or progressive extreme metal bands such as Code, Sigh or even the notorious jazz-metal band Shining, especially with the constant high prominence of the saxophone that remains throughout the entirety of the album, often playing the lead role in steering the emotions of the listener.
Suffice to say, the second full length effort of Aenaon has certainly more than met my rather high expectations, far surpassing the already excellent debut album, with a marked growth in the band.

by hongrui


Lady Metal (De) - 27/12/2013

Sind das Sackpfeifen oder Keyboardsamples… und wie bitte gehoren diese Klange mit der dusteren Musik im Hintergrund zusammen? Diese und ahnliche Fragen stellte ich mir wahrend dem Intro zu AENAONs neuem Album „Extance“. Ich kannte die Band nicht und war mir schon nach wenigen Sekunden unsicher, ob mich nun Folk, Avantgarde oder Blackmetal erwartet. Das besondere an diesem Horerlebnis war allerdings nicht dieser irritierende Einstieg, sondern dass ich mir diese Frage im weiteren Verlauf immer wieder stellen musste. Wahrend die Blaser den Song „Deathtrip Chronicle” nach progressivem Pagan klingen und an DYRATHOR erinnern lassen, weckt das folgende „Grau Diva“ vollig unterschiedliche Assoziationen - von MOTORHEAD bis SHINING ist alles vertreten. Ich konnte die folgenden Songs auf ahnliche Weise beschreiben, doch versuchen wir zunachst etwas Ordnung in dieses Chaos zu bringen.

AENAON stammen aus Griechenland und treiben dort anscheinend schon seit dem Grundungsjahr 2005 ihr Unwesen. Gespielt wird eine technische Blackmetal-Variante, welche allerdings fur Einflusse aller anderen Subgenres oder Musikstile geoffnet wird. „A Treatise on the Madness of God“ beinhaltet beispielsweise mehrere Jazz-Parts, wahrend „Algernon's Decadence“ in verspielte Klassik-Gefilde vordringt. Diese Vielseitigkeit findet auf allen Ebenen statt und umfasst das Tempo, den Einsatz des Instrumentals sowie die Art des Gesangs. Letzterer wechselt in unregelma?igen Abstanden zwischen typischem Keifen, cleanen Vocals und Choralen. Diese Unberechenbarkeit lasst „Extance“ wie ein Uberraschungsei wirken, bei dem der Horer nie wei?, welches Geheimnis als nachstes auf ihn wartet (Ist es vielleicht das kleine Auto zum Zusammenbauen? Ich will das kleine Auto!).

Vereinzelt werden neben Schlagzeug, Gitarre und Bass auch exotische Instrumente in die Songs integriert, wodurch eine weitere Ebene auf dieses ohnehin schon komplexe Kartenhaus aufgestockt wird. Struktur und technische Leistung der einzelnen Musiker sind wirklich beachtlich und rechtfertigen allein schon ein Interesse an diesem Tontrager. Ich frage mich nur, ob tatsachlich auch jeder Leser etwas mit dieser reichhaltigen Kost anzufangen wei? (oder dies uberhaupt will). Ich bin mir sicher, dass einige Musikfreunde aus meinem Bekanntenkreis, diese Songs schlicht fur uberladen halten wurden. Letztendlich wird jeder Leser nach diesem Review selbst entscheiden mussen, ob er sich auf ein derart unberechenbares Abenteuer einlassen mochte oder nicht.

Fazit: AENAON ist nichts fur schwache Nerven. Hausaufgaben machen oder seine Diplomarbeit vorbereiten kann man wahrend dieser Hintergrundmusik vergessen. Ob die Kompositionen auf diesem Album eine sinnlose Aneinanderreihung unterschiedlichster Parts oder doch eher die geniale Verschmelzung verschiedener Musikstile sind, kann und mag ich nicht objektiv beurteilen. Ich schreibe nur soviel: Wer gerne mal einen Metalsong mit Mundharmonika horen mochte, muss sich mit diesem Album auseinandersetzen.

PS: Meine Anlage verfugt uber die Moglichkeit der automatischen Lautstarkeregelung und war durch die harten Breaks und plotzlichen Wechsel des gesamten Settings derart uberfordert, dass sie an manchen Stellen einen ganzen Moment benotigte, um wieder zu begreifen, was hier fur ein boses Spiel gespielt wird. In diesen Momenten hatte ich fur kurze Zeit starke Sprunge zwischen den Lautstarken. Ich mochte diese Anekdote ans Ende der Rezension setzen, um nochmals darauf aufmerksam zu machen, wie abgedreht diese Musik komponiert wurde. AENAON sind wirklich die MONOLITH DEATHCULT des Blackmetals!

by Hardy


Extreminal Webzine 9/10 - 03/12/2013

Code666 Records - 2013 - Greece

After a couple of years of waiting, Aenaon brought finally their second album out which proofs again the potential of the band. “Cendres Et Sang” was a good one and this time,the band took what they started on it to another level. The style of the band didn’t change;it only became better and more Avant-garde. The listener can again hear here the Jazz elements like it was the case on their previous album and beside that, this time the used even some “space” melodies (to say it so) like we know from the best time of Arcturus. You can hear that the best in the song “Der Mude Tod”. Beside those elements, this time the band also uses more clean vocals and choirs on their new album. They fit perfect into this album without taking anything from it or weakening it. This song that I already mentioned is also the most aggressive song here on this album, but it is not some kind of mindless slaughter. We saw that they are capable of this on the song “Er” from the split Aenaon brought out. “Grau Diva” is also a recommendation from this album with a riff at the beginning which reminded me a bit of Carpathian Forest. The songs here are made in various tempos so it won’t be boring to listen to this album in one turn. This time, Aenaon also have a bigger guest list on their record. Mirai Kawashima (Sigh), Sindre Nedland (In Vain / Funeral) and Tanya (Universe217) did additional vocals here and Haris (Hail Spirit Noir / Transcending Bizarre?) helped them with additional synthesizers. All I can say is that this album is surely something good for the beginning of the year and I just can recommend it to everyone.

Author: Petar Mrvic


the Kvlt (Gr) 9/10 - 24/01/2013

Genre: Progressive / Black Metal
Year: 2012
Country: Greece / Russia
Label: Possession Productions
Type: Split

Οι Aenaon, οι Έλληνες progressive black metallers, επιστρέφουν με ένα split με το επίσης black metal one man project Stielas Storhett και μας τοποθετούν ένα μεγάλο χαμόγελο στο πρόσωπό μας με το αποτέλεσμα. Το πρώτο κομμάτι αυτής της κυκλοφορίας είναι αυτό των Aenaon με τίτλο “Er”. Το κομμάτι πραγματεύεται το μύθο του Ηρός και περιέχεται στην “Πολιτεία” του Πλάτωνα. Ο Ηρ είναι ένας πολεμιστής ο οποίος πεθαίνει στη μάχη αλλά μετά από δέκα μέρες και είναι η ώρα να καεί στην πυρρά δεν δείχνει σημάδια αποσύνθεσης και επανέρχεται στην ζωή, ώστε να διηγηθεί το ταξίδι του μετά το θάνατό του.

Στον τομέα της μουσικής οι Aenaon για ακόμη μια φορά δεν απογοητεύουν, καθώς προσφέρουν black metal που ξεχειλίζει από πειραματικά μοτίβα, progressive μετρήματα και συνδυασμό screamκαι καθαρών φωνητικών, τα οποία και έχουν τον πρωταγωνιστικό ρόλο στο ρεφρέν του κομματιού. Η σύνθεση ώριμη, περιπετειώδης, χαρακτηριστική των Aenaon αποτυπώνει την προσπάθεια του συγκροτήματος. Κάπου στη μέση του κομματιού υπάρχει μια έκπληξη. Από το υπερπέραν, ο ποιητής Γιώργος Σεφέρης μας απαγγέλλει μερικούς στίχους από το ποίημα του “Ο Τελευταίος Σταθμός”:

“Ερχόμαστε απ' την άμμο της έρημος, απ' τις θάλασσες του Πρωτέα,
ψυχές μαραγκιασμένες από δημόσιες αμαρτίες,
καθένας κι ένα αξίωμα σαν το πουλί μες στο κλουβί του…”

Μόλις τελειώνουν τα λόγια του ποιητή ο ήχος του σαξοφώνου ολοκληρώνει την κορύφωση του κομματιού με το σολάρισμα του. Και έρχονται οι Aenaon σε εκείνο το σημείο να μας οδηγήσουν στο τέλος αυτής της καταπληκτικής προσπάθειας. Το δεύτερο κομμάτι ανήκει στους Stielas Storhett και έχει τίτλο “Alter Ego”. Η σύνθεση του κομματιού είναι καλοδουλεμένη και ώριμη με την κατεύθυνση στο μελωδικό black metal να είναι αρκετά επιτυχημένη. Καθαρά φωνητικά και ακουστικά περάσματα δίνουν χαρακτήρα στη σύνθεση και εκφράζουν τα συναισθήματα που αποτυπώνει αυτό το κομμάτι μέσα από ένα διαφορετικό πρίσμα. Ένα αρκετά αξιόλογο κομμάτι που προσωπικά μου έδωσε το έναυσμα να αναζητήσω και τις υπόλοιπες κυκλοφορίες του εν λόγω project οι οποίες είναι γεμάτες από ποιοτικές συνθέσεις.

Το split ολοκληρώνεται με δυο καλοδουλεμένα και πού όμορφα εξώφυλλα τα οποία τραβούν το μάτι και δίνουν μια καλή πρώτη ματιά στο τι θα συναντήσει κανείς μέσα. Είναι μια πολύ καλά κυκλοφορία που αξίζει την προσοχή.

Βαθμός: 9/10
by Krimson


Avantgarde Metal (De) - 23/01/2013

Greek avantgarde black metal act AENAON and the atmospheric one-man black metal piece STIELAS STORHETT decided to combine their unique and diverse musical competences offering an exceptional new release, different and enthralling especially for the black metal standards of today.

Originating from the ancient lands of Greece, AENAON introduces its own interpretation of Plato’s conclusion of the ‘Republic’ through the six minutes Er is comprised by. Of course the theme holds a strong significance to the Greek history thus the song is very well balanced and worked between lyrics and music, both of them functioning as a great portayal of Er’s life,death and ranbling through the cosmos and the afterlife. Musically, AENAON is found doing what they do best and that’s experimental black metal leaning towards a progressive direction. The band is not afraid to push the boundaries with the addition of a poem recitation of the ‘The Last Stallion’ by Greek poet George Seferis which is very cleverly used and adds greatly to the story telling as well as the general aesthetic of the song, being narrated in Greek language actually helps a lot on that as well. The poem's repose is followed by a calm but rather dark and emotional instrumental section where piano and saxophone are the only instruments before the band comes crushing again with a catastrophic outburst that continues the song ending Er’ s vain wandering. A brilliant composition that combines some of extreme's metal finest elements,a kaleidoscoping mix of influences that will establish AENAON as a great up and coming Avantgarde-metal band.
Same thing can be said for STIELAS STORHETT as well, hailing from the edge of the Earth in the Russian North, who offer a fascinating opus reflecting the fraudulent humanity and its treacherous ALTER EGO. This time the music is more raw and ethereal with various guitars layering melodies and riffs tied together, but with clean guitar sections along with moody and ambient passages that balance the song turning the following parts into an even more grandiose and expressive build-up. The music here is less complex and progressive but that stands ass something positive as the feelings of melancholy and desperation that evoke in this very song are more than enough to complete the essence of ALTER EGO, and consequently the essence the band wants to give.

All in all, ER is but an avantgarde, progressive song in the usual vein of AENAON, whereas ALTER EGO is more of a traditional black metal song of the third generation (if there is even such categorization), filled with epic melodies and dark passages that characterize STIELAS STORHETT heavily. Both songs were written and recorded exclusively for this split release so they are not far from one another but each band has managed to present its distinctive sound and musical individuality, providing their alternative vision of the Black Metal scene, structuring an interesting and considerable effort. Both songs were interesting enough to convince one to take deeper look into each band's previous efforts, and for that sole reason I have admit that the purpose of the split is pretty much accomplished. An essential musical collaboration that crosses the black metal music with feeling uttering the experimental needs of free thinking musicians that fans of avantgarde music will definitely find themselves eager to delve into.

by Lefteris Kefalas


Infernal Masquerade (Us) 89/100 - 21/01/2013

Being huge fans of Aenaon, we got very excited when we received this two-song split release between the Greeks and the Russian one-man band Stielas Storhett. Clocking in around 12 minutes, this split really showcases both bands ability to take Black Metal to completely new heights and make it seem easy.

Opening the release we have Aenaon’s “Er”, a 6-minute track that continues their Progressive Black Metal brilliance after last year’s epic “Cendres Et Sang”. The band’s unique style is immediately present with funky melodic sections and killer vocals. The progressive elements of this track are excellent, but the sax on it really reminded us of Ihsahn and his own brand of music but with a jazzier edge, just like on the band’s previous release.

Having never heard about Stielas Storhett before, we were pleasantly surprised that their sound also is very reminiscent of Ihsahn, particularly in the riffing and vocal style. However, the band delivers a bit more than this with very aggressive riffing and killer tempo changes. There are some excellent clean vocals in this song and slower paced sections, giving it enough depth to really set the band apart from everybody else playing Black Metal.

Never failing to deliver, Aenaon makes this limited edition split a must buy for any fan of the band. And with the added value of Stielas Storhett being an excellent band by themselves, you really have no excuse to not get this split release. Be sure to hurry up since there are only 300 copies made.


Battle Helm - 19/01/2013

A split 7” might seem like an great idea on paper but once you put in on your turntable you’ll realized that it means more work than it might be worth. All that turning the vinyl has to pay off for it to be worthwhile. How do you review a split 7”? a split between a Greek and a Russian black metal band. The Greek side makes me think of a more dramatic Satyricon. There is that same feel to this track that with an added touch of something that seems genuine Greek. The Russian side is more conventional mid tempo black metal but with a dramatic touch too. This is a split that compliments each other in an almost perfect harmony. Now that I’ve become acquainted with these bands I need to check them out further.

by Anders Ekdahl


Greek Rebels (Gr) 8/10 - 19/01/2013

Ένα νέο εφτάιντσο split κι ένα κομμάτι, μας ετοίμασαν οι Θεσσαλοί (Λάρισα, Βόλος) Aenaon για το τέλος του χρόνου (12-12-2012…τυχαίο;;;) που μας πέρασε. Μαζί τους οι Ρώσοι (Murmansk) blacksters Stielas Storhett, οι έχουν πολύ καλή φήμη στη χώρα τους και οποίοι συμμετέχουν επίσης με άλλο ένα κομμάτι. Κυκλοφόρησε από την Possession Productions και μας δίνει απλόχερα, την δική τους ερμηνεία σε ότι αφορά το progressive Black Metal και στίχους που έχουν σχέση με τη φύση, μαθηματικά μοτίβα, μίσος και χάος. Πολύ ωραίο το “Er” των Aenaon, με ακραίο παίξιμο - αλλά και πιο heavy εκεί που πρέπει, με γοτθική ατμόσφαιρα στο ρεφρέν και βαμπιρικές πινελιές που θυμίζουν Notre Dame. Μονόλογος στα Ελληνικά από έναν μεσήλικα άντρα, effects, πιάνο, σαξόφωνο… Avant garde καταστάσεις κι απόλαυση! Πιο άμεσο και «ξερό», το “Alter Ego” των Stielas Storhett - που και σε αυτό υπάρχει ένας αντίστοιχος μονόλογος, αλλά και τραγούδι με «καθαρά» φωνητικά. Το ΕΡ διατίθεται σε χρωματιστή συσκευασία, μ’ όλους τους στίχους ενσωματωμένους και σε τριακόσιες κόπιες. Για τσεκάρετέ το!


Lords Of Metal (Nl) - 17/01/2013

'Er / Alter Ego' is a split single by the Greek Aenaon and the Russians from Stielas Storhett.. Sometime ago Aenaon released a very rewarding full-length called 'Cendre Et Sang' and more recently Stielas Storhett outed 'Expuls', both through Code666. And both bands were exploring the boundaries of the genre, which for both is black metal in the end. So quite a logical team-up then. Each band delivers one song and first up is Aenaon with 'Er'. A rollercoaster song, in which jazz saxophone meets aggressive riffs, melodic soloing, modern technicality and a catchy chorus. An engaging semi-avant-garde black metal track. Stielas Storhett is up next with 'Alter Ego' in which we can notice a more aggressive approach to depressive black metal than we are familiar with from them. More in the vein of Forgotten Tomb in terms of structure, but luckily still with a definite Mar De Grises touch in the slower parts. A good song and still a very interesting approach to the genre. In conclusion: 'Er / Alter Ego' is a high quality release, but with only two songs it's way too short


Don't Count On It (Us) - 12/01/2013

Obviously this is the most recent addition to this list. With both Aenaon and Stielas Storhett bringing forth some of their most accessible material to date with each of their respective songs. Aeneon takes the sound established on their debut full-length from last year and hones in on it to create a track that is both technical without being flashy and catchy without sacrificing weirdness. Stielas Storhett moves even further down it's progressive metal hole, leaving behind many of the traditional black metal elements they project was founded on and introducing much more precise riffing and cleaner vocals. Both tracks are absolutely killer. 


Xtreem Music (Es) 7.5/10 - 04/01/2013

De la mano de Possession Productions llega a nosotros este split en forma de Ep de los griegos AENAON y los rusos STIELAS STORHETT.
Este trabajo consta de una tirada limitada a trescientas copias numeradas a mano, siendo un producto mas o menos destinado a fans de ambas bandas y coleccionistas en general.

Si hablamos un poco de AENAON, cabria mencionar que este proyecto esta compuesto por el guitarra de los tambien griegos VARATHRON, teniendo poco que ver este proyecto con esta banda.
Su historia se basa en un black bastante moderno, plagado de incursiones del palo avantgarde, el cual hara las delicias de todos los seguidores del estilo.
Voces agresivas, limpias, ritmos atroces, otros mucho mas facilones y melodicos, solos cargados de feeling y algo de neoclasico, algunos escarceos con saxos y pianos,
si, si, habeis oido bien, algo poco usual, pero la verdad es que hace que el corte, al mismo tiempo que te deja un poco descolocado, pero tambien gane bastante interes.
Un avantgarde black que bebe de raices noruegas con aires mas modernistas.

Por otro lado, tenemos a los rusos STIELAS STORHETT, los cuales nos entregan algo mas de agresividad a traves de ritmos algo pesados y ciertas blasfemias,
aunque no solo de esto viven estos rusos, ya que tambien han introducido fragmentos algo mas melodicos y algunas voces limpias por momentos, obteniendo un buen resultado, aunque si es cierto,
que si me tuviera que quedar con uno de los dos cortes me decantaria sin ninguna duda por el de los griegos. Y no es que estos no lo hagan bien, aunque me han sonado bastante menos sorprendentes, no por ello, carentes de calidad.

Bien, pues en resumidas cuentas, un par de temas que la verdad, sino fuera por la corta duracion de este Split, seria un trabajo cojonudo, en mi opinion, destinado a coleccionistas y fans de la banda.
Aunque si te llama la curiosidad, es una buena forma de saber algo de estas dos bandas.


Wings of Death (Nl) - 02/01/2013

De Griekse avant-garde black metal act Aenaon en het atmosferische eenmans black metal project Stielas Storhett uit Rusland besloten om hun uiteenlopende maar geheel eigen muzikale uitingen op een gezamenlijke release te combineren. Op een ouderwetse 7” single (gelimiteerd op 300 exemplaren) leveren beide acts een track aan. Van allebei zijn hier eerder de laatste albums besproken, dus voorkennis en vergelijkingsmateriaal zijn aanwezig. 

Het is dan ook bekend dat Aenaon een geheel eigen kijk op musiceren in de black metal regionen heeft. Hun track Er laat dat opnieuw horen. Geïnspireerd door de eigen klassiek geschiedenis wordt het verhaal verteld van de mythe van Er. Muzikaal vertaalt zich dat naar een vrij toegankelijk nummer dat ergens het midden houdt tussen midtempo heavy metal en black metal. Hoewel geen toegankelijk stemgeluid is het refrein behoorlijk catchy te noemen. Zeker geen standaard black in elk geval, te horen zijn zowel een blastbeat als een sferisch middenstuk, met piano en ook saxofoon, zoals we van Aenaon gewend zijn. Een interessante compositie die de meest uiteenlopende muzikale elementen knap combineert. Caleidoscopisch vind ik in deze context wel een mooi woord.

Alter Ego, de bijdrage van Stielas Storhett aan deze single, laat zich in eerste instantie een stuk meer basic en rauwer beluisteren. Al blijkt uiteindelijk afwisseling het sleutelwoord. Van rauwe riffs en gelaagde gitaarlijnen, een rauwe black metal krijs en gejaagd drumwerk naar cleane gitaarpartijen en stemmige passages mat haast lieflijke cleane praatzang. Zeker minder complex en progressief dan Aenaon, maar toch nog altijd de afwijking zoekend van de veilige platgetreden zwart metalen paden. De sfeer die hier bij hoort is vooral melancholie.

De bijdrage van Aenaon bevalt mij persoonlijk het best van deze twee, omdat er zoveel meer gebeurt, en het nummer Er sowieso z'n toegankelijke momenten heeft. Het interessante ontstaat juist wanneer deze twee tracks na elkaar beluisterd worden in omgekeerde volgorde zoals hier besproken; eerst de rauwe, meer klassieke black metal georiënteerde track, daarna de experimentele oefening.


Subechoes Metal Revies (Gr) 9/10 - 02/01/2013


Ελλάς-Ρωσία συμμαχία έχουμε στο εν λόγω split,από τους θεσσαλούς Aenaon και τους Stielas Storhett.Έχουμε να κάνουμε με δύο σχετικά νέες μπάντες που σιγά σιγά,συσσωρεύουν το δικό τους κοινό,και αποκτούν τα δικά τους μουσικά χαρακτηριστικά.Οι δύο μπάντες,μας παρουσιάζουν από μια νέα τους σύνθεση,φανερώνοντας παράλληλα και τις ηχητικές κατευθύνσεις που τυχόν θα ακολουθήσουν στο κοντινό μέλλον.

Πρώτο σε σειρά είναι το τραγούδι των δικών μας Aenaon,οι οποίοι πραγματικά σόκαραν με την ωριμότητα και τον επαγγελματισμό που επέδειξαν στο ντεμπούτο τους(κριτική εδώ),αποσπώντας θετικότατες κριτικές από τον metal τύπο και την avant-garde κοινότητα του internet.To νέο τραγούδι λοιπόν,που τιτλοφορήθηκε "Er" είναι μια εξάλεπτη(και κάτι) επίδειξη δύναμης από τους Aenaon,οι οποίοι φαίνεται να είναι διατεθειμένοι να τελειοποιήσουν αυτό που ξεκίνησαν στο "Cendres et Sang".Θεματολογικά ασχολείται με το γνωστό μύθο του Ερ από την πλατωνική "Πολιτεία"(Ο Ερ ήταν ένας πολεμιστής που σκοτώθηκε στη μάχη,πήγε στον άλλο κόσμο,αναστήθηκε και διηγήθηκε στους παρευρισκόμενους της κηδείας του,τις εμπειρίες του).Ο ήχος της μπάντας κυμαίνεται σε άκρως πειραματικά πλαίσια και με γνώμονα τις εξάρσεις του black metal,καταφέρνει ξανά να συναρπάσει.Μajestic ατμόσφαιρα με avant-garde χαρμάνι για απαιτητικούς ακροατές,με ιδιαίτερο γούστο και απαιτήσεις.Τα άρτια,οργισμένα φωνητικά και οι διεστραμμένες κιθάρες που αψηφούν το συμβατικό heavy metal παίξιμο,συναγωνίζονται στο ποιος θα κλέψει την παράσταση,ενώ το απόσπασμα από τον "Τελευταίο Σταθμό" του Σεφέρη(από τα χαρακτηριστικότερα ποιήματα του σμυρνιού ποιητή,που γράφτηκε κατά τη διάρκεια του β' Παγκοσμίου Πολέμου) και η γέφυρα με το πιάνο και το βιολί(guest συμμετοχή από τον Μarc Altoffer των ελβετών Blutmond) έρχονται να ανυψώσουν το τελικό αποτέλεσμα.Τραγούδι που μου άφησε άριστες εντυπώσεις και μας κάνει αισιόδοξους για τη συνέχεια.Μπράβο παιδιά!

Οι Stielas Storhett είναι ένα one-man project,του ρώσου Damien T.G.,o οποίος έχει ήδη δύο LPs στο ενεργητικό του.Κοιτώντας κανείς την καταγωγή του(κατάγεται από την πόλη Μούρμάνσκ,λιμάνι του αρκτικού ωκεανού),δε θα μπορούσε να περιμένει η μουσική που φτιάχνει να είναι κάτι το διαφορετικό από το καταθλιπτικό και ατμοσφαιρικό black metal.Στο τραγούδι αυτού του split,"Alter Ego",o ρώσος παρουσιάζεται,ολίγο τι πιο τραχύς και έντονος,όσο αφορά στη ορμητική φύση του τραγουδιού,χωρίς βέβαια να παραμελεί τη μελωδία(άφθονες μελωδικές κιθάρες) και την ατμόσφαιρα.Aν και πιο βατή σαν σύνθεση από το "Er",στην πορεία καταφέρνει να σε κερδίσει με την ειλικρίνεια της.Στα καθαρά φωνητικά θα μπορούσε να είχε γίνει καλύτερη δουλειά,αλλά δε νομίζω ότι ζημιώνεται το όλο αποτέλεσμα λόγω αυτού,καθώς οι κλαίουσες κιθάρες στο τέλος σε αποζημιώνουν και με το παραπάνω.

Κλασσικό μαύρο 7" ίντσο βινύλιο με έγχρωμα εξώφυλλα και ένθετο με στίχους. Περιορισμένο σε 300 αριθμημένα αντίτυπα.Όποιος πρόλαβε,πρόλαβε.



Behind The Veil (Gr) 8.5/10 - 25/12/2012

I’m really proud of the Greek metal scene. It always had some great bands to display, but it seems to me that lately more and more quality bands are popping out… bands that have much to offer not only to the restricted market of Greece, but also to the worldwide scene.

We have some really great bands in almost every metal genre and I’m really happy to introduce you to one such great band AENAON. The quintet exists since 2005 and so far they’ve released a demo, an EP, a full length and two split releases, the most recent of which is the one I’m presenting to you now. They participate here with an exclusive, never before released, track titled “Er” that lyric-wise deals with the ancient myth of Er. Music-wise now the band delivers state of the art, qualitative modern progressive black metal that balances perfectly its darkness and melancholy with its aggressiveness and its frozen atmosphere. The vocals support and enrich all these contradictory feelings and approaches and help create a highly addictive and smooth end result which becomes even more beautiful and complex with the addition of the saxophone and piano parts and the recitation in Greek nearly at the end of the song. Next in line is a band from Russia… actually it’s a one man band, STIELAS STORHETT that presents to us the song “Alter Ego”. STIELAS STORHETT was founded back in 2005, so far has released two full lengths, a compilation, an EP and two splits and is considered to be one of the best black metal acts of Russia. “Alter Ego” is a complex track revealing the artistic drive of its creator and the variety he wants to offer to his compositions. So, this is a pure black metal song, it is extreme and has a frozen atmosphere, but it’s also surrounded by dark, bitter and melancholy feelings. “Alter Ego” ties perfectly together the aggression with the inner torment and this is something hard to be achieved I believe. Anyway, I think that things are easy for you to make a decision. If you want to explore the underground scene and get acquainted with two very good bands then here’s your chance. You can either digitally download this split or you can obtain the 7’’ vinyl that’s limited only to 300 hand-numbered copies. Take your pick!


Metallized (It) 72/100 - 22/12/2012

Uno split inedito e brevissimo, quasi lampo, capace comunque di dare un’idea precisa di quanto due piccole realtà europee ancora underground possano offrire. Er / Alter Ego propone infatti brani provenienti da due band, provenienti da Grecia e Russia, che fanno del black metal la base per le loro nuove sperimentazioni, in grado di essere piuttosto convincenti, nonostante non provengano da nomi noti della scena continentale.

A dare il via a questa release sono i greci Aenaon che, con il loro Er, danno perfettamente l’idea di cosa effettivamente per loro significhi il termine avantgarde black metal. Il quintetto ellenico, infatti, dà vita ad uno stile piuttosto elaborato all’interno del quale convivono aspetti tra i più diversi: black metal ibridato dal death, su cui vertono principalmente il riffing di chitarra e il drumming, sopra gli strumenti dominano i vocals possenti ed energici in growl, alternati a quelli più leggeri in clean. Ma la sorpresa principale la si ha nell’intermezzo centrale, dove un sample di vocals in greco apre la strada ad un passaggio lento e strumentale, dominato da sassofono e pianoforte, capaci di dare un inaspettato tocco di eleganza all’intera track. Degno di nota anche il testo, che chiama in causa nientemeno che Platone e il suo mito di Er, rivisitato in chiave volutamente eroica. La scelta fa onore alla band, visto che di certo non fa male dare ascolto a brani più impegnati della media, di tanto in tanto.


A seguire, è il turno della one man band russa Stielas Storhett, che propone una traccia più breve e qualitativamente meno pregiata rispetto alla precedente. Alter Ego è infatti una traccia aggressiva, ricca di cambi di ritmo a cui puntualmente viene associato il cambio growl/clean e viceversa, ma che dal punto di vista dell’originalità non sorprende particolarmente, soprattutto nelle parti strumentali di chitarra. Tuttavia, il brano rimane fluido e decisamente apprezzabile e, volendo paragonare il suo stile ad un nome più noto, richiamerebbe per alcuni tratti i primi lavori di Ihsahn.


Uno split interessante dunque, seppur fulminante nella durata, a cui è stato tuttavia appeso al collo il cappio dell’edizione limitata (sole 300 copie), elemento che potrebbe penalizzare la diffusione di tracce come quella proposta dagli Aenaon, che di certo potrebbe spiccare tra le tante, forse troppe realtà l’una uguale all’altra presenti nell’underground europeo.


Metal Libray (Ru) 7/10 - 12/12/2012

Прогресс Stielas Storhett продолжился в этом году выпуском совместной семидюймовой пластинки с греками Aenaon. Релиз стал первым виниловым для обеих банд. Пластинка содержит по одному уникальному треку с каждой стороны.

Aenaon представляют здесь композицию "Er". Эта песня основана на мифе о древнегреческом солдате, побывавшем в царстве мёртвых. Миф представлен в форме динамичного прогрессивного метала с налётом черноты, где "математический хаос и магия сплелись в невероятное по красоте полотно". Полотно и вправду получилось красивым, цветастым, торжественным, глубоким по содержанию. И очень напористым. Завывающие и рычащие гитарные партии летят наперегонки, не теряя ритма. Мистические клавишные, сипловатый рёв вокалиста и похвальная работа ударника доводят напряжение до предела. В этом треке прекрасно всё. Переслушивать его нужно не один раз. Количество задумок тут несчётное. Ihsahn, на чьё творчество наверняка ориентируются греки, оценил бы.

Stielas Storhett, в свою очередь, предлагает композицию "Alter Ego". Damien T.G. этой вещью очень правильно развил направление, заданное на Expulse. Бьющая через край эмоциональность альбома-предшественника никуда не пропала, однако она поставлена совсем в другом ключе, без склизкой грязи. Песня безупречно выверенная, очень взрослая, захватывающая, с интересной лирикой. Как и прежде, Damien T.G. разворачивает всё действо на основе своей восхитительной гитарной игры. Ему подвластно всё – от уместно спотыкающихся высокоскоростных пробежек до глубоких и неспешных акустических переборов, сдобренных жгучими соло. Обладая настолько отточенным мастерством, он не нуждается в помощи клавишных, духовых и других приблуд. Одинокий мурманский музыкант ничем не уступает греческому квинтету. От Black Metal в его музыке остались лишь размытые тени, зато всё ярче сияет призрак великого Чака Шульдинера! Любители прогрессивного периода Death могут найти в "Alter Ego" отзвуки легендарной группы. А вокал Damien вообще местами неотличим от шульдинеровского.

Пластинка шла к релизу долго и мучительно, появившись на свет на 3 месяца позднее изначально назначенного срока. Вдобавок, завод ошибся при создании тиража и перепутал наклейки на сторонах пластинки. Тем не менее, семёрка вышла шикарной. Отличное оформление (плотный внешний конверт с обложками + внутренний с лирикой песен и информацией о группах), 2 умных композиции, которые требуют многократного прослушивания – практически идеальный релиз для коллекционеров. Тираж – 300 копий.

добавил: F!$her


Dead Void Dreams (Bg) 8.5/10 - 18/08/2012

Greece has to exhibit many interesting and notable metal and especially black metal bands. Aenaon is one of these bands, that succeeded in surprising us with is debut full-length album 'Cendres et Sang'. Even from the first song, the jazz elements make the album special, while the saxophone continues to travel our emotions and imagination, as along with the percussion make the jazz / metal fusion in the second song, before one realizes that it is about a melodic black metal song, with some death metal vocals. The jazzy sound reminds of Den Saakaldte, while the influences of Shining and Satyricon are obvious. Varying between jazz, melody, black metal and metalcore, the band wouldn't bore you at all. The frequent changes in the tempo, the flawless passage from brutal death/black metal vocals into clean vocals, the progressive percussions along with the metalcore riffs of the attacking guitars and the avantgarde black metal elements compose a unique sound, which is excellent in terms of compositions and aesthetics. The big surprise was the impressive last song of the album, "In Heaven", where the piano at the intro followed by female choir vocals ends up to a mix of emotion, black metal vocals and melodic solos, being atmospheric, melodic and aggressive at the same time. It should be mentioned that this song is a cover of the Eraserhead’s soundtrack by David Lynch. The outro that Aenaon decided to use could not be other, in order to close a cycle of melody, suffocation, atmosphere, rage and emotion, expressed via the dark and melancholic lyrics of an inner soul. The production is very good, where the recordings took place in over five studios. In overall, the album is very good and proposed to those who like listening to non-conforming and non-traditional metal bands from the black metal scene, those not afraid to experiment with their sound.

(Dark Alice's nightingale)


Thanatos Webzine (Gr) - 21/05/2012

The first song I have listened from the greek band Aenaon was Navel from Phenomenon Ep(under the label of Bleak Art Records). I was really suprised by this band   because of the special music they play and yes , it is difficult to determine what is their genre.However this album '' CENDRES ET SANG'' released on 14/06/2011  is the one that mixes a lot of music genres in one as well as contains from the most perversed , twisted or calm riffs to the most dynamic devastating ones. And actually this is what Aenaon is all about! They play music , thay can play a wide variety of genres  and not only that....thay can do it in one album ....or maybe in one SONG !About Cendres et Sang now... the album  is a total success for the band.It contains 10 tracks. The compositions are really melodic and trully gloomy perversed ... Sometimes they give out an ''evil'' feeling sometimes a really melodic beautiful sound. Moreover the characteristics of ''black metal'' prevail, I would even say melodic black metal.The vocals are trully amazing , the screams as well as the clean from guest artists.The guitars are giving a special dark and gloomy prestige in terms of technique and clearly composotion parts. The drums and bass are well harmonized  with the rest of the instruments (I Like the parts when I can clearly hear the bass playing). The best think about the drums is that they slow down the tempo and suddently they speed up and you realize you headbanging without noticing or vice versa . Furthermore Cendres et Sang contains  a  cover  , based on the music theme of the movie ''Erasehead'' by David Lynch as well as the cover of the album is from the same movie.   Many artists took part in this piece of work such as V'Gandr (Helheim & Aeternus) , Thomais ( Dakrya) Chris Agouridakis ( Χρ?στος Αγγουριδ?κης) Saxophone (Orchstra Sonora) , Vasilis Agiomyrgianakis (ex-Nightfall) piano. As Aenaon told us , after 1 year of ''break''  because of Astrous army duties, from September and on they're gonna have many lives as well as a new Album!Moreover the new line - up for the next album as Achilleas told us will be Astrous- Vocals , Achilleas - guitars , JM guitars, Thyragon - bass, Nycriz - drums.I am so curious to hear what Aenaon are working on right know... I would sincerely recommend all previously released albums by  Aenaon and I believe the upcoming one will be a success ,too, for Aenaon.  


The Whiplasher (At) 8/10 - 15/03/2012

Wirres und gemäß Titel "kafkaesques" Saxophonspiel leitet das Debutalbum "Cendres et Sang" (französisch für "Asche und Blut") der griechischen Band AENAON ein und mündet in die Nummer Suncord, die u.a. mit düsteren Jazz-Elementen überzeugen kann und eine erstes Highlight auf "Cendres et Sang" darstellt. Mit dem Einsetzen der für Black-Metal-Verhältnisse groovigen E-Gitarren erinnert der Sound von AENAON sofort stark an die neueren Alben von DHG - ein Vergleich, den vor allem die darauffolgende "Psychonautic Odyssey" untermauert. Das liegt vermutlich auch an Produzent Tom Kvalsvoll, der bereits mit Emperor, Ihshan, 1349 und den eben genannten DHG zusammenarbeitete. Grand Narcotic Harvest" ist ebenfalls ein heißer Anspieltipp - hier könnten übrigens auch Helheim-Fans auf ihre Kosten kommen, da Sänger und Bassist V'gandr uns hier mit einem Gastauftritt beehrt. Weiters kann die Nummer mit starke Gitarrenriffs, einem eingängigen Refrain und einem wirklich bombastischen Schluss punkten.   Leider kommt daraufhin das Album an einen Punkt, an dem es etwas zu schwächeln beginnt. AENAON behalten zwar den eigenen Stil bei, doch die wirklich großen musikalischen Momente fehlen mir in den folgenden fünf Liedern einfach (ausgenommen vielleicht im rhythmisch ausgefallenen "Necroscope", oder auch in "Kraanerg"). Wenn mir einige Leser an dieser Stelle widersprechen möchten und gerade die von mir kritisierten Songs besonders gut finden, dann freut mich das umso mehr und unterstreicht auch zusätzlich die musikalische Leistung der Griechen.   Am Schluss erwartet den geduldigen Hörer dafür mit "In Heaven" noch ein absoluter Knaller und den meiner Meinung nach besten Song des Albums. Auch wenn die Band das Stück bescheiden als Cover bezeichnet, so handelt es sich vielmehr um eine Variation, nämlich über ein Thema aus dem Film "Eraserhead" von David Lynch (1977). Ein am Klavier gespieltes Prelude und ein schöner melodiöser Schlussteil, der mit treibenden Blastbeats einhergeht, entschädigen (zumindest mich) für einige schwächere Momente zuvor - ein perfekter Abschluss für ein solides Album mit einigen wirklich fantastischen Nummern. Man kann sehr gespannt auf den weiteren musikalischen Werdegang von AENAON sein.

Geschrieben von: Jakob


Metal Music Archives 70/100 - 09/02/2012

"Cendres Et Sang" is the debut full-length studio album by Greek extreme metal act Aenaon. The album was released through code666 in June 2011. The band play an experimental/avant garde form of black/death metal that I prefer to tag extreme metal. That´s means that the music on the album is not really black metal nor is it death metal. The truth lies somewhere in between. The music is pretty varied with both straight forward extreme metal sections (blast beats, mid-tempo groove and doomier sections), mellow jazzy avant gardish sections with saxophone and progressive epic sections. There is a good balance between melodic and more raw content. The clean and polished sound production ensures that the music never gets too raw though (It´s of course an aquired taste but I think the music could have prospered from a more filthy and raw production). The band are very well playing and everything is delivered with precision and generally sound very convincing. "Cendres Et Sang" is overall a very professional product and it fully deserves a 3.5 star (70%) rating. "Cendres Et Sang" is recommended to those who enjoy their extreme metal with a twist.

by Umur  


Metal France (Fr) - 08/02/2012

Non, la Grèce n'est pas en vente sur eBay par l'Europe. AENAON. Je ne connaissais pas. Et quelle claque mes amis! Un groupe formé de personnes que je ne connais pas, ni même les groupes assujetti, ça laisse de marbre. Mais quand ma tendre collègue S m'a dit "Y'a du saxophone, tu vas aimer", j'ai eu un peu peur de tomber sur un Den Saakaldte bis, et j'étais tout excité. Et il y a de quoi. Aenaon ne fait pas un metal extrême basique pour tout le monde mais est tellement unique qu'il risque de trouver son public chez les fans d'Ihsahn ou old Arcturus. Oui oui oui. Mais non, j'ai pas besoin de graisse! "Cendres & Sang" commence sur un titre génial, "Kafkaesque", qui nous fait déjà comprendre que le groupe est très axé philosophie française. En plus de nous mettre une intro calme, avec un beau saxophone, ça part en couille dès le 2ème morceau, et on se retrouve avec un black metal influencé par bien des groupes, mouvements avant-gardistes. Varié comme pas deux, on peut se retrouver dans un passage brutal et passer sur une interlude de jazz, ou un moment chanté clair. Oui, la musique d'Aenaon est complexe, et fort heureusement! La technicité des membres est à son paroxysme de maitrise et de sentiments donnés. Mentale, voilà, cette musique est mentale. Trippante, calme, brutale, elle nous renvoie dans des influences parfois progressives des 70' ou du black metal des 90'. Le mélange est parfait, les 52 minutes passent comme une lettre à la poste de Martine et ce n'est pas pourtant partie aisée vu certains passages bien complexes. Mais ne partez pas, rien de "math" ou "djent" ici. Aenaon envoie un bousin méchant et saura vous calmer en même temps. Les fans des vieux Arcturus retrouveront leur bonheur ici, la voix claire du chanteur n'est pas sans rappeler notre Garm. Je suis à court de blagues nulles sur la Grèce, désolé. Au final, AENAON nous sort un album génial, difficile d'accès mais tellement puissant que l'on peut facilement déjà le noter comme un album mûr. Fans de musique extrême complexe, jetez vous dessus et écoutez cet album quelques fois pour plonger dedans. Sans parler des autres écoutes où l'on découvre de plus en plus de choses. Une poupée russe de Grèce. GREECEPTION! HA!


Infernal Masquerade (Us) 90/100 - 01/02/2012

After delivering two impressive EP’s: Phenomenon and A Parallel Zoetrope, Aenaon finally signed with Code666 to release their debut full-length “Cendres et Sang”. In this very impressive freshman release, the band makes use of their superior ability in crafting interesting and unique sounding Black Metal songs and deliver 10 tracks of majestic music that many veteran bands wish they would have in them. Since the Jazzy opener “Kafkaesque”, you know you are in for a treat and a very unique album. This intro nicely blends with the second track “Suncord” and when the riffing starts we are immediately reminded of bands like Farsot and similar creative-Black Metal acts. The melodic aspect of the band’s sound is what makes them so special, particularly in the intricate passages crafted in the middle of this track that feature a hefty Jazz influence. Moving into more aggressive blast-beat induced Black Metal, “Psychonautic Odyssey” delivers a heavier song that is equally dynamic and fresh sounding as the first two tracks. Most album goes back and forth between excellent aggressive sections and superbly crafted ‘weird’/Avant-garde sections like the trippy passages near the end of “Grand Narcotic Harvest” and “Once Finite”. With each song being very diverse in nature, it is very interesting to actually listen to the band’s peculiar elements be consistent through the release in a very subtle manner giving them a great sense of identity. Our favorite track of this release comes with the name of “Black Nerve”. In this song the band combines excellent guitar work with experimental passages and Jazz influences taking things to a whole new level of awesomeness. We would love to hear more like this from the band in the future since it reminded us of a less crazy version of Ephel Duath. The closing track again exposes more of the brilliant Jazzy influences with some awesome female vocals contrasted by some very brutal sections. Overall, we think that Aenaon is a very good band that deserves more attention and that their sound has unlimited potential. With a very diverse body of songs, “Cendres et Sang” is one of the best releases we have heard in quite a while so be sure to get yourself a copy of this release and start enjoying it.

Band: Aenaon
Album: Cendres et Sang
Label: Code666
Release: June 13th, 2011
Genre: Black Metal
Country: Greece
Rating: 90/100 by Dark Emperor


Ecos De R'lyeh (Es) 9,25/10 - 28/01/2012

Incredulidad. Es lo que sentirás cuando comiences a escuchar Cendres Et Sang, porque que algo como ésto sea el debut de una banda y no su obra cumbre tras años de evolución sonora es para tener que recoger la mandíbula del suelo. Partiendo del Black Metal, pero con una clara orientación hacia el Avant-Garde, Aenaon se embarcan en una travesía donde la brutalidad y la clase son compañeros de viaje, sin hacer ascos a ocasionales devaneos con el freee-jazz. Lo más sorprendente de tan peculiar mezcla es la manera en la que el cuarteto griego la somete a sus planteamientos, centrados en todo momento en crear canciones redondísimas. Así que aunque a priori podríamos tener una bizarrada infumable, lo que obtenemos es una colección de temazos de órdago, pero que a la contundencia propia del metal extremo se le suman una miríada de tonalidades que hacen del álbum un artefacto tremendamente valioso y especial. Con un ojo puesto en el legado de titanes como Emperor, Cendres Et Sang despliega ese tipo de Black Metal que de tan transversal traspasa todos los límites, empezando por las estrechas fronteras del género, y fagocitando todo lo que en sus manos cae dan como resultado un trabajo impsible para los amigos del etiquetado. La producción es bestial, dejando el sonido sucio a un lado y abrazando una limpieza y contundencia que elevan hasta alturas orbitales unos temas ya de por sí cargados de rotundidad. La voz de Astrous se mueve por unos registros que van de la furia gutural, predominante, hasta momentos de épica y grandilocuencia que pueden recordar a los irlandeses Primordial. Todo ello reforzado por colaboraciones de lujo a cargo de V'Gandr (Aeternus, Helheim) y Thomas Chatzigianni (Dakrya) entre otros. Pero es el trabajo de guitarras el que se lleva la palma en Cendres Et Sang, desplegando un arsenal de recursos inagotable, amén de hacer gala de una técnica, clase e inteligencia compositiva al alcance de muy pocos. Riffs asesinos, melodías, solos de infarto y cabalgadas de furia infernal se encuentran en la enorme armería custodiada por Achilleas C. y Dagwn, y que a buen seguro os dejaran las cervicales igual de hechas polvo que a mí. Para terminar de redondear la jugada, todo el álbum está impregnado de un aura de surrealismo más que palpable, cortesía de saxofones, teclados e incluso la aparición de un Hammond en escena. Esta inclinación hacia lo bizarro queda constatada con la versionaza que se cascan de In Heaven, de la banda sonora de Eraserhead. Si señores, David Lynch y Metal, con dos cojones. En resumen, nos encontramos ante un trabajo soberbio, personalísimo, y que coloca a Aenaon no ya como una promesa de futuro sino como toda una potencia ante la que inclinarse. El título de debut del año se le queda pequeño a esta monstruosidad. La encarnación de un tiempo, y un pueblo, el griego, al que como reza el título del disco tan sólo le han ofrecido cenizas y sangre.

NOTA: 9,25/10  


Black Terror Metal (It) - 19/01/2012

2011 Code666 1. Kafkaesque 2. Suncord 3. Psychonautic Odyssey 4. Grand Narcotic Harvest (feat. V'gandr of Helheim) 5. Once Finite 6. Carnivora's Lair 7. Necroscope 8. Kraanerg 9. Black Nerve 10. In Heaven (cover from David Lynch's movie Eraserhead)   Lo si capisce fin dalle prime note che “Cendres Et Sang” non è il solito album di debutto, non è la solita solfa. Questi greci, che hanno anche il privilegio di avere ospiti importanti come V’gandr, paiono essere dei predestinati: “Cendres Et Sang” è infatti confezionato con classe e maturità. Aenaon non è un nome che rischia di passare inosservato; questo disco ha infatti tutte le caratteristiche che richiede il mercato black metal attuale, voglioso di poter lanciare nuove proposte che facciano musica fresca, nuova, moderna. In effetti, le loro fonti di ispirazioni sono band sulla cresta dell’onda come The Axis of Perdition , Fen, Ephel Duath, ultimi Shining. Il loro è un black metal d’avanguardia, caratterizzato da fitte e potenti trame chitarristiche e da una grande carica atmosferica. La band non disdegna affatto il “clean vocals”, che compare più volte in questo disco, soprattutto nei ritornelli, in modo da rendere più orecchiabile la loro proposta, altrimenti piuttosto aggressiva nel riffing di chitarra. È indubbiamente un disco che entra subito nella testa, non ha bisogno di ascolti ripetuti; risulta molto orecchiabile e di facile assimilazione, pur non essendo costruito in modo banale. Inoltre non esistono pezzi di contorno, ma una bella varietà nelle composizioni, che rendono il disco sempre interessante e dalle varie sfumature. Ad esempio è molto riuscito l’esperimento di inserire parti di saxofono (come è accaduto nel debutto dei Den Sakaaldte) in “Suncord” e nell’irresistibile “Black Nerve”. Un’altra ottima intuizione è la cover di “In Heaven”, che potrebbe essere un pezzo del sofisticato ultimo album dei Peccatum, dato l’efficace intreccio con una possente vocalist femminile. Insomma un debutto perfetto, senza difetti, pronto a consacrare una nuova ottima realtà! I fan del avanguarde black metal impazziranno: impossibile resistergli!

Autore: {Mirror}  


Global Domination (Se) 3/10 - 13/01/2012

Here’s a band with a name that looks like a cluster of unfortunate opening tiles in a game of Scrabble. I seriously can’t even decide how to pronounce the name in my head. Well, at least their music doesn’t suck. Oh wait, it does. The label hails this as “progressive black metal and a lot more.” The album starts with a saxophone solo so it must be some type of “progressive” metal, right? The honest truth is that these guys are just not original at all. Black metal by definition is unoriginal these days, but it just feels like these guys shamelessly stole elements from other bands. It’s like they heard Ulver’s “Perdition city” and Primordial’s entire catalog and then decided that they, too, could create that style of music by emulating those bands. I mean, Ektomorf shamelessly rips off Sepultura, and everyone loves them. Genius! They also clearly got their hands on some Reason software for the drums, and despite a valiant effort to make them sound natural and human, it just sounds hokey. Overall, it’s even a stretch to refer to this as “black metal.” It has a dark atmosphere and a little aggression, but it lacks attitude or any semblance of identity. I’m sure some people dig this kind of stuff, but it does nothing for me. 3/10: Consonant-to-vowel ratio in band names.

by BamaHammer  


The Daily Rock (Article) - 27/12/2011

Ever since Adolph Sax invented his titular horn in 1846, the saxophone has traversed many forms of music. It has roots in military bands and classical ensembles, but also serves as the foundation of jazz and a fixture in early rock and roll. Today it is present in such diverse styles as punk, noise, funk, reggae, and other world music genres, but what about heavy metal?

The family tree of heavy metal and saxophone begins with the blues, but takes off with the 1950s free jazz pioneers, who pushed the boundaries of what the instrument is physically capable of. The 1970s post-punk groups then incorporated these techniques into more aggressive and confrontational forms of rock, while heavier prog rock groups updated where the hard bop saxmen left off. The legacy of rock and saxophone continues into heavy metal, but it is often overlooked or forgotten.

Personally, I have had a long fascination with the versatility and tonal range of the saxophone. While it is mostly associated with the smooth and the cool, the sax can convey the broad range of emotions associated with metal, such as anger, disaffection, introspection, mania, and ecstasy. The sax is perfect for the multitude of metal styles; it covers dissonance and harmony, the amateurish and the technical, the sensual and the cerebral.

For the list of top 10 sax metal songs, I chose to include only modern metal and avoid bands that blur the lines of prog/hard rock (such as Hawkwind). Second, I did not want to include any bands that use synthesizers in place of real instruments or use other brass instruments like trumpet or trombone. Third, I wanted to avoid “fusion” groups like Painkiller, Naked City, or Zu. I feel that while these bands make great music, they are hybrid styles (or do not fit a genre) and would not be classified as metal.

I am not an expert on the subject of saxophones and metal; it is merely something I am interested in and feel is worth writing about. When doing the research for this article, I found many new bands, both good and bad. I found several others that did not make the list, but sparked my interest and made me rethink what music could be, such as Lithuanian outsiders Anubi and Boston’s Maudlin of the Well. The joy of finding new music is an essential part of being a fan and is something I strive for every day. In the comments, let me know what some of your favorite metal songs with saxophones are. I will make another post of “honorable mentions” that contains songs I might have missed or bands that did not quite meet the parameters. I will also include some “dishonorable mentions”, because let me tell you, I found some bad ones!

Now, let’s begin our sax education . . .

10. Ephel Duath – “Breed”
from Through My Dog’s Eyes, 2009, Italy

Click here to view the embedded video.

Ephel Duath is progressive metal band from Padova, Italy. Mainstay Davide Tiso has blended jazz, metal, and hardcore effectively since the band’s 2000 debut Phormula but did not incorporate any sax until 2009’s Through My Dog’s Eyes, a concept album about viewing the world from the perspective of a dog. Saxophonist Stephano Ferrian provides the heavily processed and whirling intro.

. . .

9. Wrnlrd – “Genital”
from Myrmidon, 2009, USA

[Audio clip: view full post to listen]

Wrnlrd are lo-fi black metal weirdos who combine all that is unpleasant and disturbing and put it to tape. Myrmidon is their seventh proper album, and it has the Arlington, Virginia creepers jamming with saxophone player Swanson Hill on the track “Genital”. Listen to the solo beginning at 2:30 and make sure the lights are on. Check out more about Wrnlrd here.

. . .

8. Nachtmystium – “Seasick (Part 2: Oceanborne)”
from Assassins: Black Meddle Part 1, 2008, USA)

Click here to view the embedded video.

Championed as the heroes of innovative metal by some and dismissed as black metal for bros by others, Nachtmystium are a polarizing band. Blake Judd and company wear their Pink Floyd influence on their sleeves and aim to create a seamless mix of psychedelia and black metal. Their degree of success is subjective, but Part 2 of the “Seasick Trilogy” could easily be the metal version of “Us and Them” with saxophone courtesy of Yakuza’s Bruce Lamont. Check out the Kenny G-like smoothness at 0:56.

. . .

7. Aenaon – “Black Nerve”
from Cendres et Sang, 2011, Greece

Click here to view the embedded video.

Greek horde Aenaon are fairly new to the progressive black metal scene, but their 2011 full length debut Cendres et Sang has been heavily praised for its viciousness and eccentricity. Aenaon implement many black and death metal trappings, but also incorporate jazz flourishes that do not seem out of place. “Black Nerve” is one of their mid-tempo numbers with an instrumental break at 3:16 and jazzy sax at 3:40.

. . .

6. Shining – “21st Century Schizoid Man”
from Blackjazz, 2010, Norway

Click here to view the embedded video.

King Crimson’s 1969 prog anthem “21st Century Schizoid Man” is a respected anti-war classic that some say contains the first doom riff. Since I would not really consider King Crimson metal by today’s standards, we will let nu-jazz via industrial metal band Shining’s 2010 version represent this dirge to postmodern fragmentation. The track features Enslaved vocalist Grutle Kjellson and has enough distortion and sax freak outs to leave the neurosurgeons screaming for more.

. . .

5. Lugubrum – “At the Base of Their Tale”
from Heilige Dwazen, 2005, Belgium

Click here to view the embedded video.

Lugubrum hail from Belgium (appropriately enough the birth place of the sax!) and play a Black Sabbath- meets-Darkthrone brand of metal they refer to as “Boersk Blek Metle”. Lugubrum write their high-speed songs in wonky time signatures with a skill few can match. They incorporate oddball instruments like the banjo and of course, the sax. Needless to say Lugubrum are weird as hell, but make for an interesting listen. It was hard to pick just one song, but listen to full time sax player Bhodidharma lay down a sick solo at 1:45. Not bad for a band whose main lyrical concerns are alcohol and filth!

. . .

4. Yakuza – “Obscurity”
from Way of the Dead, 2002, USA

Click here to view the embedded video.

When the words “heavy metal” and “saxophone” are uttered in the same sentence, Chicago group Yakuza is often the first to come to mind. Headed by saxophonist/vocalist Bruce Lamont, Yakuza have been kicking out the jazz and world influenced jams since 1999. Once again it was hard to pick just one song as Yakuza have released five studio albums. I decided to go with the track “Obscurity” from their 2001 debut Way of the Dead since it features two atonal saxophone duels with jazz titan Ken Vandermark at 1:00 and 1:30.

. . .

3. Sigh – “Musica in Tempora Belli”
from Scenes from Hell, 2010, Japan

Click here to view the embedded video.

Japan’s Sigh have always been innovators in extreme metal. Founded in 1990, they are regarded as the first Japanese black metal band and have flirted with avant-garde tendencies over the years. They first experimented with saxophones on 2005’s NWOBHM-influenced Gallows Gallery (sax performed by Bruce Lamont) and recruited full time saxophonist/vocalist Dr. Mikannibal for 2010’s Scenes from Hell. The songs on Scenes from Hell all feature horn sections, but “Musica in Tempora Belli” features one of the best solos at 4:10. Dr. Mikannibal is also a legit doctor with a Ph.D. in physics!

. . .

2. Ihsahn – “A Grave Inversed”
from After, 2001, Norway

Click here to view the embedded video.

With his third solo venture After, the Emperor main man created one of the most mature post-black metal records to date. Ihsahn recruited saxophonist Jorgen Munkeby of Shining and Jaga Jazzist fame for an album that integrates multiple musical styles that are both heavy and progressive. It was a hard choice between the ripping “A Grave Inversed” and the epic closer “On the Shores”. “Grave” won out because it showcases Munkeby’s versatile saxual skills; he has the chops to double the rapid-fire guitar riffs and can improvise the dissonant, Ornette Colman influenced solos at 1:00 and 3:40.

. . .

1. Carpathian Forest – “Cold Murderous Music”
from Defending the Throne of Evil, 2003, Norway

Click here to view the embedded video.

With a myriad of metal artists who have used a saxophone over the years, picking a number one song was difficult, but Carpathian Forest’s “Cold Murderous Music” stood out as something completely unique and original. Allmusic describes the song as “Portishead fronted by a tracheotomy recipient”, but this description hardly does the song justice. Nattefrost enlisted sax player Arvid Motorsen for the track, and it demonstrates how the polar opposites of grimness and smoothness can combine with unexpected yet stellar results. I never knew black metal could be so sexy . . .

Didn’t see your favorite sax metal song on the list? Stay tuned for the honorable/dishonorable mentions!

— Tom Brandow


Subechoes Webzine (Gr) 9.5/10 - 26/12/2011


Μπορεί στην καθημερινή ζωή και στον αθλητισμό, Βόλος και Λάρισα να μην τα πηγαίνουν καθόλου καλά και να είναι μισητοί εχθροί αλλά φαίνεται ότι στην τέχνη τα βρήκανε και τα κατάφεραν περίφημα.Οι θεσσαλοί Aenaon λοιπόν,μετά από ορισμένες μικρές δόσεις που μας έδιναν τα προηγούμενα χρόνια(ένα promo,ένα EP και ένα split με τους ρουμάνους blackmetallers Satanochio) κυκλοφόρησαν επιτέλους την πρώτη ολοκληρωμένη δισκογραφική τους δουλειά,το "Cendres et Sang"(Στάχτες και αίμα),ένα άλμπουμ το οποίο χωρίς την παραμικρή αμφιβολία αποτελεί μια από τις πιο δυναμικές και προοδευτικές κυκλοφορίες που έχουν υπάρξει ποτέ στην ταπεινή αλλά φιλότιμη ελληνική σκηνή.Είχα διαβάσει και ακούσει αρκετά καλά σχόλια πριν το ακούσω αλλά εδώ οι Aenaon ξεπέρασαν και τις πιο αισιόδοξες προσδοκίες μου.Το "Cendres et Sang" είναι ένας δίσκος-σταθμός για την ελληνική metal σκηνή,ο οποίος εύχομαι να σηματοδοτήσει μια καινούρια αρχή και να δώσει το έναυσμα στις εγχώριες μπάντες του black ήχου,να ορθώσουν το ανάστημα τους,να πάρουν το μέλλον τους στα χέρια τους και να σταματήσουν να αναλώνονται σε ανούσιες επαναλήψεις ήδη επιτυχημένων πρακτικών παλαιότερων συγκροτημάτων.Ούτε δεύτεροι Rotting Christ,ούτε δεύτερο "Νon Serviam" πρόκειται να υπάρξουν ξανά.

Ο συγκεκριμένος δίσκος είναι ακριβώς αυτό που θα πρέπει,κατά τη γνώμη μου,να αναζητάει ο fan του ακραίου ήχου εν έτει 2011.Όσοι από εσάς στο παρελθόν αγαπήσατε τους Darkthrone,τους Mayhem και τους Satyricon αλλά πλέον τόσο "straight" μπάντες δεν σας συγκινούν ιδιαίτερα και προτιμάτε κάτι το νεωτερικό και το περιπετειώδες,τότε χτυπήσατε φλέβα χρυσού.Με άλλα λόγια,ψυχικά ανισόρροποι και αμφιλεγόμενοι τύποι που την βρίσκουν με το "Supervillian Outcast" των Dodheimsgard,πίνουν καφέ ακούγοντας το "Written In Waters" των Ved Buens Ende και χαλαρώνουν με το "Vilosophe" των Manes μάλλον θα προσθέσουν άλλο ένα διαμαντάκι στην αντισυμβατική δισκοθήκη τους.

Η επιλογή της "Code666 Records" να σπεύσει να τους εντάξει στο δυναμικό της από την πρώτη κιόλας ολοκληρωμένη τους κυκλοφορία είναι άλλο ένα ενδεικτικό στοιχείο ότι οι Aenaon ήρθαν για να μείνουν και να μας απασχολήσουν για καιρό.Η συγκεκριμένη εταιρία έχει δημιουργήσει ένα αξιοζήλευτο ρόστερ γεμάτο από ιδιαίτερες μπάντες για ακροατές με δυσκολοκατάβλητα και προπονημένα αυτιά.Οι ανυπέρβλητοι Negura Bunget,οι Ephel Duath,οι Axis of Perdition και οι Control Human Delete είναι μπάντες που έχουν μεγαλουργήσει μέσω της "Code666" στο πρόσφατο παρελθόν και για όσους ο ήχος των παραπάνω συγκροτημάτων τους είναι οικείος,νομίζω ότι καταβάλατε πάνω-κάτω περί τίνος πρόκειται.

Για όσους ακόμα έχουν ερωτηματικά,το "Cendres et Sang" πρόκειται για έναν αμιγώς πειραματικό δίσκο,ο οποίος με μεγάλη ευχαρίστηση επιτρέπει στο avant-garde στοιχέιο να ασελγήσει πάνω στο παραδοσιακές black metal φόρμες,δημιουργώντας ένα αλλοπρόσαλλο αλλά συνάμα άκρως γοητευτικό αποτέλεσμα για τους fans του είδους.Σαξόφωνα δίνουν τη σκυτάλη σε blastbeats και metal κιθαριστικές μελωδίες αμήχανα παραδίνονται σε αλλόκοτα μουσικά περάσματα.Βίαια φωνητικά και Arctur-ικές κραυγές σου βασανίζουν ευχάριστα το αυτί.Τέτοιου είδους μουσικά εγχειρήματα δύσκολα χρίζονται από επιτυχία καθώς είναι απαραίτητο να υπάρχει απόλυτη ισορροπία μεταξύ των οργάνων,του παιξίματος και των συνθέσεων.Τραγούδια όπως το συναυλιακό "Psychonautic Odyssey",το κυκλοθυμικό "Suncord" και το δαιδαλώδες "Necroscope" φανερώνουν μουσικούς,οι οποίοι πέρα από την αδιαμφισβήτητη μουσική παιδεία,διαθέτουν το όραμα και την "left-hand path" διάθεση των ανυπάκουων και των αιρετικών.Το "Cenders et Sang" κλείνει με τον πλέον θεαματικό τρόπο καθώς οι θεσσαλοί επιλέγουν να διασκευάσουν το "In Heaven" του David Lynch από το soundtrack του παρθενικό αριστουργήματος του "Eraserhead" του 1977,τραγούδι που έχει διασκευαστεί επιτυχημένα και από τους alt rock θρύλους "Pixies".

Με αυτό το άλμπουμ οι Aenaon χτυπάνε αναιδέστατα την πόρτα τον "μεγάλων" και κρυφοκοιτάζουν ηδονοβλεπτικά προς τα μέσα.Το αν θα τα καταφέρουν να μπουν και να εδραιωθούν σε μια τόσα ιδιαίτερη και απαιτητική σκηνή μόνο ο χρόνος είναι ικανός να το δείξει.Εμείς αυτό που μπορούμε να κάνουμε είναι να στηρίζουμε τέτοιες υγιείς και ειλικρινείς προσπάθειες και να απαγκιστρωθούμε από την χαρακτηριστική αρχαιολαγνεία που μας διακατέχει ως κοινό και λαό γενικά....

AΚΟΥ ΑΝ ΣΟΥ ΑΡΕΣΕ: Dodheimsgard - "Supervillian Outcast" , Ihsahn - "The Adversary" , Ven Buens Ende - "Written in Waters"

*ΥΠΟΣΗΜΕΙΩΣΗ: Αξίζει κανείς να ρίξει κανείς μια ματιά στο έργο του πολωνού καλλιτέχνη Lukasz Wodynski,πίνακας του οποίου κοσμεί το εξώφυλλο του "Cendres et Sang"


Crossfire Metal (De) 8.5/10 - 26/12/2011

Es gibt doch tatsächlich noch Bands, die nicht auf diesen Retro- und Rehearsal-Schepper-Sound abfahren, und mir trotzdem gefallen. Eine dieser neueren Combos sind zweifelsohne AENAON aus Griechenland. Ihre erste Mini-CD „Phenomenon“ von 2009 und ihre Split-7“ mit den Rumänen SATANOCCHIO von 2010 fand ich schon fantastisch. Sie rotierten in den letzten Wochen sehr oft in meiner Anlage. Doch dieses neue Album ist schon schwerer verdaulich. Ein Saxofon-Intro erinnert mich stark an alten 70er-Jahre-Krautrock. Und der Schein trügt nicht! Zwar gibt es viel Black Metal, fiesen Gesang, viel Doublebass, sehr häufig schnell, teilweise auch sehr rockig vorgetragen. Stellenweise gibt es auch hymnischen, melodischen Gesang zu vernehmen („Grand Narcotic Harvest“), der durchweg zu überzeugen weiß. Immer wieder lockern schöne Melodien und ein gelegentliches Saxofon („Black Nerve“) die Sache auf, was tatsächlich etwas von PINK FLOYD´s „Dark Side Of The Moon“ hat: Auch vor Frauengesang im Abschluss-Track „In Heaven“ scheut man sich nicht; erinnert mich etwas an THE GATHERING zu ihren soften, experimentellen Zeiten um die Jahrtausendwende. Hier wird aber im Großen und Ganzen rockiger Black Metal gespielt, der eher an neuere Alben von ABIGOR, SATYRICON, DØDHEIMSGÅRD oder THORNS erinnert; nur eben nicht ganz so verrückt. Schwer zu beschreiben. Auf jeden Fall sehr Anti-Trend, sehr eigenständig und interessant. Ich bin mal echt gespannt, was danach von AENAON noch kommen soll… Vor einem Blindkauf lieber unbedingt reinhören!

Note: 8.5 von 10
Punkten Autor: Daniel Müller



U-Zine (Fr) 8/10 - 23/12/2011

J'ai cette impression de ne parler que de ce pays. En effet, bien que le titre de cet album d'Aenaon soit en Français, c'est bien d'une formation grecque dont il s'agit. Le groupe sort avec Cendres Et Sang son tout premier album six ans après sa formation. Une patience qui a des vertus puisque le groupe se retrouve déjà signé chez le prestigieux label Code666, ce qui semblerait prouver son bon goût certains. Si j'ai parlé de Code666, ce n'est pas anodin parce que le groupe joue du Black Metal mais entre nous, cette dénomination va faire râler les puristes. La musique d'Aenaon va au delà du Black Metal et n'en a pas vraiment l'essence même comme Darkthrone ou Mayhem l'avaient (même pas de blasts ou de guitares ultra saturées). Pour faire plaisir à ce bon vieux Hraesvelg, je vais parler de Black Metal Progressif. En fait, de Black Metal, Aenaon ne possède que le chant ainsi que les ambiances malsaines et oppressantes. Pour le reste, oui, le terme de Progressif colle bien. Non pas que cet opus soit réellement novateur mais il est très hétérogène et riche à l'image de Virus,de Ved Buens Ende, d'Orakle et de Dark Fortress.   L'album commence par une introduction (« Kafkaesque ») au saxophone qui ne fait plus qu'un avec le début Jazzy de « Suncord ». Le reste sera moins proche du Jazz (hormis le retour du saxophone sur la partie centrale de la très bonne « Black Nerve ») mais cette seule chanson suffit à comprendre que Cendres Et Sang sera une œuvre très réfléchie pour un public averti qui n'est d'ailleurs pas forcément le public Black habituel et ce n'est pas plus mal. Aenaon fait ce qu'il sait faire de mieux et le fait avec conviction en maitrisant parfaitement toutes ses élucubrations. On va loin dans les méandres du corps humain aux travers de riffs complexes. Des riffs plus Heavy que Black qui peuvent faire penser à du Shining (le Suédois) dans ses instants les plus violents. Des riffs complexes mais qui savent être mélodiques quand le besoin s'en fait sentir et comme vous pouvez vous en douter, ils ne font pas dans la gaieté, bien au contraire. On est dans le noir, dans le malsain même si sur « Necroscope » on retrouve un riff à la limite du Pagan, presque joyeux. Les soli peuvent jouer la carte de la séduction comme sur « Once Finite » aux allures d'Orakle ou t'agresser les oreilles dans le bon sens sur « Psychonautic Odyssey ». Pour coller avec cette musique, il faut un chanteur à plusieurs facettes à base de chant Black et de chant clair bien maitrisés.   Avec tous ces éléments, Cendres Et Sang ne pouvait être qu'une réussite et c'est bel et bien le cas. Les morceaux sont suffisamment longs pour créer l'ambiance tout en restant assez courts pour garder leur attractivité et leur tranchant. Il n'y a pourtant pas de tubes mais il n'y a pas non plus de mauvais titres. Et puis, franchement, un groupe qui rend hommage à David Lynch en reprenant le titre « In Heaven » tiré du film Eraserhead (Labyrinthman en Français), ne peut décemment pas être mauvais.   Ce titre dénote du caractère réfléchi d'Aenaon qui en un album fait déjà preuve d'une assurance étonnante. Cendres Et Sang est un disque qui restera dans le haut du panier des sorties « Black Metal » de cette année par sa richesse. Il est aussi la preuve que la scène Grecque est en pleine ascension et se montre de plus en plus. Prenez garde, bande de cruches!

Note : 8 / 10
Par : Orion


Metal Holocaust (Gr) 90/100 - 06/12/2011

Να πω την μαύρη μου αλήθεια δεν είχα ιδέα για αυτή την μπάντα ώσπου ήρθα σε επαφή με τα παιδιά και πήρα τις δουλειές τους. Η πρώτη εντύπωση ήταν που ήταν τόσο καιρό και δεν το πήρα γραμμή αφού η μπάντα είναι από το 2005;;;

Με ενημέρωσαν ότι κυκλοφορεί η νέα τους δουλειά και αποφάσισα να κάνω κριτική. Αν και είμαι τις τραγίλας και της σαπίλας θα πω ένα πράγμα…ΦΑΝΤΑΣΤΙΚΟ!!!! Το άλμπουμ ονομάζετε CENDRES ET SANG απο την Code666

Τα παιδιά δεν τους χαλάει να πειραματίζονται και αυτό το ακούς στη μουσική τους. Αν και με ξένισε η εισαγωγή του άλμπουμ με ήχους σαξόφωνου το μετά με έκανε να γουστάρω άσχημα. Δεν το βρίσκεις εύκολα αυτό το είδος στη Ελλάδα και οι μάγκες το κάνουν μια χαρά. Όμορφα σόλο, βαριές κιθάρες, μπασάρα, τεχνικά τύμπανα και φωνάρα του Astrus. Είναι ένα πολύ προσεγμένο και τεχνικό διαμάντι, ξέρω ότι δεν είναι το στιλ μου αυτός ο ήχος αλλά οι τυπάδες με κάνανε να αλλάξω γνώμη και γουστάρω άσχημα. Θα το πρότεινα ανεπιφύλακτα σε όλους, δεν περίμενα η καημένη μας Ελλάδα να βγάζει τέτοιες μπάντες σε τόσο δύσκολο κοινό όσο είναι του πειραματικού black metal. Δεν θα πω αγαπημένα κομμάτια γιατί είναι όλα ένα κι ένα. Όποιος πάρει την δουλειά τους δεν θα βαρεθεί ούτε ένα δευτερόλεπτο. Δεν θα πω τι μου θυμίζουν γιατί είναι πρωτότυπο αυτό που κάνουν και δεν είναι κόπια κανενός. Έχουν δικό τους στιλ και ύφος. Απλά ένα πολύ μεγάλο μπράβο αφού κάνανε ένα τόσο επιφυλακτικό ακροατή σαν εμένα να τους λατρέψει. 10 τραγουδάρες μια και μια.Αγοράστε το και βοηθήστε τους Έλληνες μουσικούς


Zware Metalen (Nl) 75/100 - 05/12/2011

Hellas (Griekenland) stuwt zijn black metal-zonen richting de Lage Landen. Aenaon brengt black metal met ballen. Gestart in 2005 is dit het eerste album waarmee deze Grieken ons bombarderen. Black Metal met technisch sterke gitaar en kleine, onderhuidse verrassingen. Het klinkt goed! Aenaon weet direct mijn hart te veroveren met Kafkaesque, de intro van de plaat: een eenzame saxofoon later bijgestaan door wat losse drums en gitaar. Het eerste wat je opvalt aan dit album is dat alles zeer strak ingespeeld is. Drums zitten perfect, de gitaar is goed uitgevoerd, enkel de stem staat een heel enkele keer wat tegen. De band laat de schitterende saxofoon ook later weer (Suncord) terugkomen in het album met een sfeer om U tegen te zeggen. Het lijkt alsof Aenaon niet altijd even goed kan kiezen tussen de meer ruwere kant van black metal en de atmosferische kant van doom metal waardoor de luisteraar emotioneel van hot naar her gegooid wordt. Een muzikaal gezellige achtbaanrit. Aenaon is een band die ervan houdt zijn luisteraars te verrassen. Is het niet met een saxofoon en een doomstukje, dan is het wel met het laatste nummer In Heaven. Een oude piano, een cleane vrouwenstem en een geweldige akoestiek... waarna Astrous zijn stemgeweld weer weet boven te halen. Aenaon zet hier iets geweldigs neer. Een ontdekkingstocht door de gedrochten van de pure black metal krijg je niet, noem dit eerder progressief met een mysterieus tintje. Een plaat die me bij zal blijven.

Lieze Neven


Metal Zone (Gr) 80/100 - 05/12/2011

Aenaon are, from now on, something more than a underestimated force. My first contact with their music was with the "Phenomenon" mini cd two years ago, when I was impressed with the songs and their ability to compose with a clearly independed thought. So, after a 7 inch split album with Satanochio I see them returning with their very first full length. Man, that brought a big smile across my face! My joy became even brighter after having listened to "Cendres Et Sang". The guys now play ball on their own court and by their own rules. Melodic, sceptic, avant garde black metal that really hates a closed mind and a blindfolded listener. If you dig the feeling of acts like Dodheimsgard, Arcturus and all that experimental philosophy, you will surely discover amazing soundscapes to travel in. The use of out of the ordinary instruments like saxophone, piano but also female vocals(not the pseudo goth bullshit) is inspired and successfully put into the songs. I also loved the fact that they do not overuse blastbeats and high speed tempos all the time, thus letting the beautiful guitar work to stand out. The music is left to expand and breathe. Not that Aenaon lacks aggression, on the contrary..Having stretched(or not at all) horizons, they built a brilliant musical structure, the one you can hardly describe but can easily fall for. Another enemy of Aenaon is the clock and the percecution mania that describes most of the corpse painted musician wannabies of the genre. Things are simple within complexity here. You just leave yourself sink into the album, you let it roll all over you and the music does the rest. It’s not some kind of katatonic tsunami though. You will visualize blue skies as much as starlit nights when listening to it, the sound variety is vast. Astrous’ vocals are of wide range and capture the right feeling. So did Lykasz Wodynski, the painter that created the wonderful cover art, coming in perfect blend with the band’s vision in art. The package comes full circle with the cover version of In Heaven(from the soundtrack of David Lynch’s Eraserhead) giving away a bunch of personalities that see no tabboos. As for the sound, it’s excellently mastered, exactly what "Cendres Et Sang" needs to draw your attention. My advice would be to pay some attention too. A band with an ever growing musical identity is something not to miss. Well done Aenaon!

Giannis rem3dy Nakos


Neckbreaker (De) 7.5/10 - 06/11/2011

Experimenteller Black Metal aus Griechenland ist eine rare Angelegenheit, der man bestimmt nicht alle Tage über den Weg läuft. Die 2005 gegründeten AENAON haben sich genau dieser Musik verschrieben, und zeigen durch diese, wie sich authentisch vertonte Innovation anzuhören hat.  Insgesamt drei kleine Releases konnten den Griechen bereits eine solide Fangemeinde sichern. Nun endlich steht die Veröffentlichung des Debütalbums „Cendres Et Sang“ an, dessen Fertigstellung ein ganzes Jahr in Anspruch genommen hat.   Es wurde keinesfalls zu viel versprochen, als vom Label Code666 außergewöhnlicher Avantgarde-Black Metal vom Feinsten vorhergesagt wurde. AENAON sind wirklich außergewöhnlich. Ohne dissonant, zu jazzig oder zu progressiv zu klingen haben sie eine herausragende Art und Weise gefunden, klassischen Black Metal so umzugestalten, dass eine durch und durch verträumtere, aber nicht minder brachiale Klangatmosphäre entsteht. Doublebassattacken und Blastbeats kommen ebensowenig zu kurz wie knackige Riffs, schreddernde Läufe und ein erbarmungslos hämmernder Bass.   Dazu schleichen sich melodische Gitarrensoli ein, die der ganzen Geschichte einen sehr gehaltvollen Charakter verleihen. AENAON bringen Am laufenden Band vielseitige Einschübe in ihre Arrangements ein, die andere Bands nicht einmal durch massigen Keyboardeinsatz in ihre Songs bekommen würden.  AENAON benutzen auch Keyboards, aber auf einem durchweg vorbildlichen, minimalistischen Niveau, wie man es anderswo nur selten zu hören bekommt. Zusammen mit den fesselnden, gewaltigen Riffs wirkt „Cendres Et Sang“ auf jeden Fall sehr eindrucksvoll. Der Gesang ist ein absolut solides, tiefes Grölen, dass stark an WATAIN erinnert. Rhythmisch perfekt auf das musikalische Geschehen abgestimmt rundet der Sänger auch durch stellenweisen Klargesang das brutale Spiel gekonnt ab.   Code666 ist es wieder mal gelungen, eine ganz frische Perle an Land zu ziehen, die hohes Potential mit hohem technischem Niveau vereint. AENAON bieten Black Metal, der vor allem für Fans nicht alltäglicher Klänge interessant sein dürfte. Fans von NEGUR? BUNGET, ALGAION, KHORS und ähnlich Virtuosem sollten von daher den Namen AENAON im Auge behalten.



Metal (It) 7.5/10 - 28/09/2011

A voler essere schematici ad ogni costo si potrebbe dividere la musica Metal in due macrocategorie: coloro i quali si inseriscono nel solco di strade gia battute prima di loro e quelli che invece le strade le vogliono, se non proprio inventare, almeno percorrerle a modo loro. Prendete i greci Aenaon, qui al loro debutto sulla lunga distanza, e capirete subito che stiamo parlando della seconda categoria.  Death e Black Metal che si amalgamano senza soluzione di continuità in un magma sonoro che fa della sperimentazione la sua raison d`etre. Attenzione però, con "Cendres et sang" non parliamo sicuramente di Avantgarde, come pure ho letto in giro, ma di un prodotto che non si accontenta solo di soluzioni precostituite o peggio di copiare qualcosa o qualcuno, non ci troviamo di fronte pertanto all`ennesima rappresentazione dello stesso spettacolo.  Ecco quindi che i musicisti coinvolti nel progetto Aenaon si dilettano nel passare da sfuriate Death a passaggi Epic Black metal di grande respiro, improvvisando qui e la soluzioni al limite del jazz (si senta a tal proposito l'accopiata intro/primo brano) o dell`ambient tout court. Certo il risultato finale non sempre risulta essere perfettamente messo a fuoco e qualche volta alcuni passaggi appaiono un tantino forzati, ma sicuramente "Cendres et sang" si lascia ascoltare volentieri ed è capace di irretirti col suo fascino ora sinistro ora violento, con la sua brutalità e il suo incedere schizofrenico che spesso sono in grado di lasciare l`ascoltatore spiazzato.   Volete qualche punto di riferimento per inquadrare meglio il gruppo greco? Immaginate il suono del black metal "moderno" dei Satyricon di "Rebel Extravaganza" o quello di gente come Khold, Thorns oppure le visioni sghembe dei Dodheimsgard degli ultimi lavori e mescolatele con partiture death/thrash taglienti come rasoi ed avrete una idea approssimativa del suono di questo lavoro.  Sicuramente i puristi di questo o quel genere rimarrano abbastanza indifferenti di fronte a questa proposta, ma tutti quelli che sono alla ricerca di modernità e di una buona dose di sperimentazione non dovrebbero lasciarsi sfuggire "Cendres et Sang".


Heavy Metal Tribune (Sg) 8.7/10 - 19/09/2011

While bands such as Indonesia's Deadsquad have fused elements of jazz into death metal, at the other end of the spectrum, bands like Sigh have over the years gradually morphed into something totally different and radical from where they started off from with the jazzy sounds and bombastic orchestral arrangements in their music. Similar to the aforementioned bands, Aenaon has also incorporated such jazz elements into their music, yet manage to retain the black metal edge as will be evident in their debut full length album, Cendres Et Sang. Since Aenaon was introduced to me as a black metal band, it was definitely surprising when the track opened with Kafkaesque,a 45 second instrumental introductory track, sounding like some sort of jazzy lounge music, complete with saxophones. This will however not be the only jazz reference that one would encounter as tracks later in the album will further incorporate them as well, displaying the versatility of the musicians in the band. Don't be fooled by the soothing saxophones and bossa nova drum beats on Suncord as the band goes into extreme mode without warning, with the growls of vocalist Astrous and the aggressive and razor sharp guitar riffs of Achilleas and Dagwn. The band constantly displays their ability to go from one mode into another throughout the music right from the beginning, such as on Suncord, as the melodic yet technical guitar solo with little warning breaks into yet another jazzy section again in the middle of the track before ending the song with a bang.   Vocalist Astrous constantly alternates between growls and clean vocals, yet manages to maintain the emotional quality whenever required on the various tracks. On songs like Suncord, his growls, while energy filled, somehow have a tinge of sadness in them, and his clean vocals are equally filled with desperation, yet on other tracks the aggression just breaks through the rest of the instruments, seemingly taking charge of the direction of where the band is headed towards. Grand Narcotic Harvest in particular stands out as one of the tracks that fully displays his vocal abilities, complete with the layering of growls on top of the clean singing.   The drumming on the album is also technical, with beats on songs like Psychonautic Odyssey having odd time signatures. That aside, the jazzy interludes also at times incorporate drumming patterns not common in extreme metal, and provide a fresh sound for Aenaon to the over-saturated metal scene. The usage of various sound effects such as the on Grand Narcotic Harvest adds a somewhat haunting atmosphere to the songs as well. The polished production quality on Cendres Et Sang is definitely suitable for the music and certainly increases the enjoyment value of the album.   If one ever doubted the ability for any band to fuse elements of music at the opposite ends of the musical spectrum and manage to keep the listener attracted throughout, Aenaon's the band to check out for they have certainly managed to pull this off well, with not one moment wasted in the 50 minutes journey that is Cendres Et Sang.

Author: Hong Rui 


Queens of Steal (Es) 9/10 - 19/09/2011

Los griegos AENAON son una formación creada hace seis años, pero que hasta ahora, no habían lanzado disco alguno. El primer larga duración se ha titulado “Cendres Et Sang” rompe esa “tendencia”. Este trabajo es cuanto menos singular, ya que cuenta con un Black Metal furioso en su mayor parte, que se conjuga perfectamente con pasajes melancólicos e incluso con segmentos de Jazz, creando un resultado final bastante Avantgarde. También hay momentos más de pura desesperación, trayéndome a la mente a SHINING y compañía.   La banda ha sabido crear un resultado creativo sin perderse en la innovación más burda y simple, aparte de regalarnos grandes temas como “Suncord” o “Once Finite”.   En general, las canciones son complejas, sin responder a ningún patrón pre establecido, siendo cada tema un mundo digno de ser escuchado, con lo que recomiendo ciegamente a AENAON si estás buscando no sólo buena música extrema, sino temas frescos para tus oídos.

by Sergio Fernández


Mortem Zine (Cz) 9/10 - 12/09/2011

Mám pocit, že nejotřepanější frází, kterou recenzenti sypou z rukávů ve svých článcích, je „letošní rok je opravdu silný“ nebo „letos vychází hrozně moc kvalitních desek“ a podobné. Já mám pocit, že každý nový rok je lepší a silnější než ten předchozí. Můžeme polemizovat a slovíčkařit až do konce letošního roku a nic z toho. Proč s tím však začínám? Z jednoho prostého důvodu. Rok 2011 je vážně hektický. Ještě jsem řádně neproniknul do desky, co mi tu přistála, ani nenapsal její recenzi, a už se mi tu válí další skvělá věc, na kterou vrhám svou pozornost. Jednu z těch hodně zajímavých tu mám už poměrně dlouhou dobu a jejímu poslechu se věnuji skutečně pečlivě už několik týdnů.

Dovolím si tvrdit, že řečtí AENAON jsou většině čtenářů neznámý pojem. A já hrozně rád seznamuji nedotčené s někým, kdo si to vyloženě zaslouží. Tato řecká čtveřice je totiž se svým aktuálním počinem „Cendres Et Sang“ horkým kandidátem na post „debutové album roku“. Přeskočím euforii, která se dostavila při prvním seznamování s nahrávkou a kapelou, jež by se dala přirovnat k malému dítěti na písečku, které dostalo nový traktůrek. Už však nejsme děti, takže se z písečku přesuneme na jiné a více odpovídající místo, na městskou skládku. Přesně tam totiž začíná naše cesta.

Stejně obtížné jako hledat jehlu v kupce sena, je najít klenot na skládce mezi tím vším bordelem a hnusem. AENAON takovým klenotem jsou, respektive tedy jejich aktuální počin „Cendres Et Sang“. Náš dnešní objekt zájmu začíná u intra „Kafkaesque“ a nástroje, který v black metalu prozatím nemá své čestné místo. Maďarští Sear Bliss svou hudbu obohatili trombónem, AENAON pro změnu saxofonem. Jeho zvrácený motiv otvírá padesátiminutové album a plynule přechází do úvodních tónů skladby „Suncord“. První okamžiky jsou zmatené, složité a rozpačité. Hudba, kterou se Řekové prezentují, není ničím jednoduchým a lehce stravitelným. Právě naopak. Jejich styl bych klasifikoval jako moderní odnož black metalu, která se snaží najít si svou individuální tvář, zvuk a styl a při tom všem si drží vysokou úroveň hráčských dovedností. Zakomponování saxofonu o tom vypovídá. Jeho použití není v hudbě časté. Objevuje se decentně a rozvážně. Kompozice jsou stejně precizní jako zbytek hudby. A nezáleží, zda jde o pomalejší pasáž či zběsilou sypačku. Takže tu máme první plus – tentokrát za saxofon.

Nenalákal-li vás tento jazzový instrument, budu pokračovat dále. Hudební stránka alba je totiž natolik pestrá a svým způsobem originální, že by její detailní rozebrání vyžadovalo mnohem víc místa, než je v recenzi zdrávo. Jestli vás při čtení o saxofonu napadlo, zda interpreti zakomponovali ještě něco z jazzové škatulky, trefili jste se do černého. Velká část kompozic je totiž tímto nonšalantním stylem načichlá. Kompozice se střídají a mění s lehkostí mu vlastní. Žádné křečovité postupy, i když se to z počátku může stát. „Cendres Et Sang“ je, jak už jsem zmínil, hodně složitou deskou, proto může mít posluchač z počátku problém vstřebat, co se mu interpret snaží sdělit. Jakmile se však do hudby ponoříte a začnete vnímat to, co AENAON chtějí říct, budete si náramně užívat styl, kterým je hudba servírovaná. Začnete vnímat rozdíl mezi spontánními pasážemi a jejími přechody do detailu promyšlených kompozic, plné technických vyhrávek, sólíček a nečekaných zvratů. Vše krásně zabaleno do moderního dárkového balení, bez špíny a jiných nečistot. Krystalická produkce, vygradovaná nejen občasným saxofonem, ale i precizními a okázalými pasážemi s tradičními metalovými nástroji.

Začal jsem s rozdáváním plusů a měl bych pokračovat. Jedno by dostal určitě zmíněný zvuk, který odpovídá modernímu standardu. I tak si však udržuje krásně dynamický tok, který udržuje hladinu atmosféry, a to i při vysoké technické preciznosti. To mnoho kapel nezvládá, ještě k tomu již na debutové desce. Další, co mi přichází na mysl, je množství pocitů, které se při poslechu derou na povrch. Naléhavost nahrávky silně útočí na pocity a zvraty, kterých se dočkáte. Zároveň udržují pozornost lépe jak hollywoodský velkofilm od Spielberga. Variabilita s jakou jsou vrstveny jednotlivé nástroje a prvky je tak intenzivní, že chvílemi zapomínáte na nádech a výdech. A když už jsem načal variabilitu, měl bych i pochválit výkon zpěváka Astrouse, který svoje hrdlo namáhá od čistých poloh až po klasické black metalové skřeky. Dojem je navíc umocněn jemným ženským hlasem hostující vokalistky, který krásně kontrastuje s hrubým vokálem Astrouse. Takže další plus, jak jinak.

Zjišťuji, že je ještě stále co rozpitvat, ale už nyní jsem přesáhl první A4 textu a nerad bych čtenáře odradil/unudil/vyčerpal před dočtením. Zkusím to tedy zkrátit a sumarizovat, jak nejlépe se mi povede. Máte-li tedy rádi inteligentní a propracovanou muziku, která si hledá svou vlastní cestu, nehledě na jakékoliv aktuální trendy či původní „poselství“, AENAON vaše přání jistě do puntíku splní. Do maxima propracovaná skladatelská práce, která je stejně umně vyprodukována. Netřeba chvástavých PR textů labelů, které lákají na nadcházející album profláklých kapel, které slibují mezník, revoluci a podobně. To nejdůležitější je vždy stejně skryto na kotouči. V Řecku to asi ví. Po boku Septicflesh či Rotting Christ (a dalších samozřejmě) tu máme další řeckou bandu, která se jistě dočká svého úspěchu.

Vy čtenáři už za ty roky víte, jaké hudbě holduji a co u ní vyhledávám. Pravidelný čtenář si tedy dokáže udělat podle předchozích odstavců obrázek o tom, co mě na „Cendres Et Sang“ zaujalo. Často jsem nenacházel slov, která by mohla album dobře vystihnout. Proto bylo i psaní recenze docela oříškem. Tu však je a doufám, že devítka, kterou AENAON naděluji, bude mluvit sama za sebe. Doufám, že některým z vás uštědřím stejné překvapení, jaké AENAON uštědřili mě.


Metal Hammer (Gr) 8/10 - 11/09/2011

Σεπτέμβριος 2011 - Τεύχος 321

Από τη στιγμή που έχεις δείξει κάποια εξαιρετικά δείγματα γραφής με τα πρώτα σου βήματα, δημιουργείς κάποιες απαιτήσεις, τις οποίες είσαι εν μέρει υποχρεωμένος να καλύψεις. Εδώ οι Aenaon δεν λειτούργησαν σαν να βγάζουν κάποια υποχρέωση, αλλά σαν ένα συγκρότημα που σέβεται τον εαυτό του και που θέλει απο την αρχή να δείξει ότι μπορεί να κάνει το κάτι παραπάνω. Με το ντεμπούτο τους, λοιπόν, καταφέρνουν να μας κολλήσουν στο τοίχο με το εξαιρετικό black metal τους, έντονα επηρεασμένοι απο τον ιδιαίτερο ήχο των <Code> και των Ved Buens Ende. Το αποτέλεσμα είναι αριστουργηματικό. Χαθείτε μαζί τους.

Παναγιώτης Φουντουκίδης

September 2011 - Issue 321

Once you've shown some very good samples of compositions from your very first steps, you create some requirements that you have to partially cover. Aenaon didn't work just to fulfill their duty but  as a band that respects itself and is ready to show from the beginning that can do even more. On their full length debut, Aenaon manage to stick the listener to the wall with excellent Bllack Metal with unique sound strongly influenced from bands like <Code> and Ved Buens Ende. The result is a masterpiece. Free yourselves into their music.

Panagiotis Fountoukidis


Metal Archives 93/100 - 08/09/2011

Here we have Aenaon's first full album, released on the 14th of June (2011) by Code666 records (house and incubator of bands such as EPHEL DUATH, ABORYM, NEGURA BUNGET, THE AXIS OF PERDITION among others). When listening Code666's name and seeing the artwork one can easily expect no less than a grandiose avant-garde/experimental journey. But is that so? Cendres et Sang (French for Ashes and Blood - the band is from Greece though), begins with a mysterious noire jazz, saxophone only, composition which follows no set of predefined rules, no crescendi or riff-like melodies and is quickly accompanied by drums and accoustic guitars in the beginning of Suncord. From that very point Aenaon show their true self. Powerful well played and balanced "black" metal  trueful to the schools of Shining, Code and Dodheimsgard.   The first thing that strikes the listener is the clarity and rawness of the production. It is an easy exit for bands of the genre to use a "half-baked" fake vinyl-like production, for the sake of coolness (I too want my CDs to sound like granpa's gramophone) and coolness only, but Aenaon have picked a different and harder route. Simply put the production is good and taking consideration that this is a new band we 're talking about, one could say great. All the instruments sit well in the mix with the guitars having the well-deserved dominant role. The drums sound great and since there is no drummer mentioned in the booklet I cannot understand if it is a human player or a drum machine. If it is a human, then congratulations to him for his great work, else, if it is the latter congratulations to the person who programmed them, since it would be one of the best drum machines used in metal. Ever.   The guitar solos are trully the highlight of this album's musicianship - never too long to end up being "Oh look how fast I play" nonsense, and straight to the point. Usually introducing new melodic material and leading the songs to their best momments. The vocals performance is not lacking either with Astrous' screaming like there is no tomorrow (similar to his performances on Aenaon - Phenomenon, and Disolvo Animus - Aleatoric Morte). There is some experimentation in the vocals sector with some passages resembling Attila's low grunts and well performed but scarce clean vocals that bring Primordial to mind, those are a great addition too.   Most of the tracks follow classic extreme metal patterns and are fast in tempo. The avant-gardness comes from momments where jazzy patterns emerge, in the rhythm guitars and saxophone, and also through the use of weird almost retro sound effects in keyboards and clean vocals juxtaposed against a powerful metal bane.    You will find no kitsch circus sounding melodies, no music box, nor grown up men immitating whispers of children here. The lyrics deal with issues such as paranoia, destruction and insanity (not very original themes) but compliment the music nicely. As noted, the band refuses to perch on "gimmicks" and tricks to promote themselves as wacky and original, no out of the blue tempo changes here or obscure instruments use. Instead it seems that they spent most of their time crafting wellthought and powerful songs that rely on... good riffs. Something that seems lacking these days, well thought catchy riffs.   The album seems to have no filler tracks, except for perhaps the last one "In Heaven" which is a cover of "Lady in the radiator" song from Mr Lynch's Eraserhead. While most people seem to highly praise the band for this cover - it seems that this song ultimately and unfortunately falls short when compared to the rest of the album. It's not a bad song, it's just the fact that it is the original played with full distortion and fast blastbeats. Perhaps even akin to silly versions of popular songs black-metalized. But as mentioned before the cool-factor dictates that this song is the best, only because it bears Lynch's name.   Standout tracks include, Psychonautic Odyssey, Necroscope and the epic and true album closer Black Nerve.   On viewing Aenaon's history - one would expect different. While the band consists of members of Varathron, Disolvo Animus and Nethescerial, Aenaon resembles none of these bands but instead branches out to be something entirely different, proficient in its category and place. If you are a fan of bands such as Shining, Code, DHG, Deathspell Omega - you should check out Aenaon immediately. And if you are a supporter of the underground scene, perhaps you have just found the best underground extreme metal album of 2011.


Alone Music (Ita) 7.5/10 - 06/09/2011

Dopo la rottura con la casa discografica Bleak Art, i greci Aenaon tornano sulle scene finalmente con il lavoro della loro maturità, il tanto agognato full-lenght  intitolato “Cendres et Sang” stavolta accolti sotto l’ala protettiva della Code666 (che non sbaglia un colpo portando sempre nelle sue fila band di un certo livello). Come molti sapranno, la Grecia è la patria del black metal sperimentale, gli Aenaon non fanno eccezione: il loro sound è un misto di black e parti più melodiche (sia sotto un punto di vista puramente strumentale che vocale), che possiamo tranquillamente considerare un ottimo esempio del genere avant-garde.  Questo album colpisce per la sua straordinaria originalità già dalla prima track “Kafkaesque” una intro strumentale dove troviamo sonorità tendenti quasi al jazz grazie alla presenza del sax (che capeggia qua e là in tutto il lavoro). Interessante l’alternanza tra il black metal più stereotipato e aggressivo e i sound più “melodici” che spezzano spesso e volentieri un’apparente monotonia del pezzo. La parte vocale è anch’essa molto particolare, ritroviamo lo screm, il cantato pulito (e aggiungerei per una volta, davvero ben fatto) e anche la voce femminile per creare sonorità più struggenti e drammatiche nella track conclusiva “In Heaven”.   Tirando le somme questo nuovo lavoro degli Aenaon è molto curato anche sotto il punto di vista della registrazione: tutti sappiamo che il black metal necessita, per essere esaltato, di sonorità “sporche” ma, stavolta la scelta del “pulito” è risultata davvero azzeccata per un lavoro di questo genere che non ha bisogno di creare atmosfere rarefatte e oscure. Consiglio questo lavoro a tutti i fan del genere che apprezzeranno sicuramente questa ventata di originalità.

A cura di: Hyrule  


Dark View (Be) 8.5/10 - 05/09/2011

Wauw , meer kan ik hier niet op zeggen als eerste full lengt album zoiets afleveren het is weinigen gegunt  Deze heren leveren prachtig werk van start tot einde een pracht van een album.  Maar toch had ik graag wat nieuwe elementen gezien zowat iedere nieuwe "black" metal band heeft saxofoon in een of ander nummer verwerkt en dat is hier niet anders. Hier bij deze plaat gaat het zelfs zover dat de saxofoon het voortouw neemt in de intro Kafkaesque dit is vooral een jazzy intro. Niets dat je doet denken aan black metal want de saxofoon gaat verder tot het 2de nummer Suncord en dan start het.   Black metal zoals het moet. Vernieuwende riffs met mooie drums afgewisseld met pure onversneden blast beats en black metal riffs die je doen dromen. Aan het vocale werk van frontman Astrous , in deze langspeler is niets mis hoewel ze op bepaalde momenten zeer geforceerd klinken in mijn oren . Bij zo een eerste langspeler is het wel meestal dat er maar 1 of  2 nummers blijven hangen ,maar hier blijft zowat de gehele cd in je hoofd spoken . Deze cd raad ik iedereen aan die black metal graag hoort maar ook een deel voor de melodic black fans.

Written by Angelus


Alternative Matter - 05/09/2011

I am totally ashamed. I instantly judged this entire album based on the first ten seconds of the intro (“Kafaesque”). I had never heard of Greek avantgarde metallers and recent Code666-signees Aenaon before listening to Cendres et Sang, so I prepared myself for disappointment at the first hint of sax. I figured this album would be another Blackjazz if anything. However, as Aenaon’s first full-length release progressed, I was hitting myself for being a hater. As a former jazz drummer, I’m a traditionalist, and I like my jazz served separately from my black metal. Somehow, Aenaon manage to blend both without allowing either to become too overpowering. The band could have easily capitalized on the novelty of blackened jazz , but instead they put as much technique and intensity into every note, grinding or elegant. By the time “Once Finite” came around, I was sold. Riffs built upon riffs beneath an acceptable balance of clean and harsh vocals. This is the track that allowed me to say, okay, this IS undeniably black metal, although in a very unusual form. For the most part, the jazz phrases were subtle, although sometimes jarring and slightly out of place. Check out “Black Nerve” for some bold soloing. The melodic black metal aspect of Cendres et Sang will definitely appeal to a wide range of listeners, if you can handle a little brass. This album gets progressively better from track to track, culminating in a WTF (in a good way) cover of “In Heaven,” from David Lynch’s nightmare-inducing Eraserhead. A very interesting and telling choice which has gotten a lot of critics going, as the abstract weirdness of Aenaon parallels Lynch’s monumental break from reality. There are some flaws, such as compositional disconnection and structure, as well as slightly (in my opinion) over dramatic vocals, but this is impressive. I wouldn’t have the balls to dive headfirst into this black/jazz/experimental fusion, kind of like if you wore a Thelonious Monk shirt to an Immortal show. Apparently you can break the band shirt rules (you all know what I’m talking about) in Greece. Obvious correlations will be drawn between Aenaon and Shining, as well as out-there, more progressive artists like Blut Aus Nord and Unexpect, but Aenaon take on a similar concept in an entirely different way. The passages are well-executed, and the vision is palpable.  I believe that Aenaon even has the ability to stand on its own as a straight up black metal band, if they decided to change direction. Don’t do that! With a little more thought put into composition and flow, great things can come from this nucleus of organized chaos.

by Bari Ann


Metal Port (Jp) 4/5 - 01/09/2011

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Vehement Conjuration 3.5/5 - 01/09/2011

Aenaon is another rather new addition to code666's roster of avant-garde black metal, and another successful one. Cendres et Sang does not appeal to those solely into anti-modernist, low fidelity cellar black metal, but those who rejoice in compromising and uncommon elements in their black metal (or the other way around: a little bit of black metal in their what ever weirdness you could call this. To depict the album more specifically, you may still except a fair deal of blast beats, tremolo guitar and harsh screams. Heck, the main riff of ”Psychonautic Odyssey” is a pretty old school, Celtic Frost like one. But the introductory ”Kafkaesque” already reveals that there's more to Aenaon's music than the basic extreme metal instrumention and execution: there's plenty of saxophone around this album which creates a really jazzy feeling at places, plus a myriad of other manipulated sound effects in every corner of the 53-minute whole. The result is, while not always intriguing and extraordinary, an interesting journey through surprising compositions.   The musicianship is no short of quality either, the main compliment going to the drummer's seat. He is a monster here, knowing how to play dynamically: when to go into warm jazzy grooves and when to include the power and roughness of blast beats. No complaints to any other section of the lineup either, it all seems to work well in spite of the fact that this is their debut.   In the end, Cendres et Sang leaves a positive taste. Even in the realm of experimental black metal, I don't think the album is really revoluationary as there's a already a heap of groups doing quite similar music, but I still think the album is a worthy effort. It is easy to hear the sweat and pain that has went into the creation of this many-faced, richly textured piece. Cendres et Sang won't open to its full glory right in the beginning as the challenging and confusing compositions do require more time. I still haven't given the album enough spins I think, but at each go it seems to get a tad better.    


Metal Music Archives 3.5/5 - 21/08/2011

After releasing a handful of minor releases since their formation in 2005, Greek avant-garde black metal act Aenaon released this debut full-length in June of 2011 on code666. Cenres et Sang is an album that's strikingly unique in sound, while still providing plenty of quality compositions and impressive musicianship. The band's unique mix of genres, topped off with a strange, avant-garde twist makes Cenres et Sang an excellent recommendation to those seeking music on the not-so-traditional side of black metal. Aenaon still has some work to do with creating songs that are mind-blowing in structure, as well as making a slightly more coherent album, but this is generally an exceptional debut full-length that I've had a pleasure experiencing. Right off the bat, a few things stand out immediately unique about Aenaon's sound. Although they do occasionally lean in the noisy, chaotic avant-garde sounds of Blut Aus Nord or Deathspell Omega, Aenaon generally play a much more melodic style of avant-black metal, with plenty of influences from jazz, progressive rock, and ambient. Most of this album isn't very "avant-garde" in a compositional sense - many of the songs here are fairly conventional - but it is instead avant-garde when looking at the arrangements. The strange saxophone portions, occasional operatic vocals, and unconventional guitar effects really put Aenaon at odds with most of the straightforward black metal crowd. Cenres et Sang's unique ambitions are ultimately its strongest asset, and the band's willingness to experiment is quite encouraging.   The songwriting on Cenres et Sang is also generally pretty strong - tracks like "Suncord" and "Once" certainly leave an impression on the listener, and throwaways are nowhere to be found. A few songs may lack a bit in the department of memorability, yet they never come across as boring in any sense. The strong and unique musicianship tends to keep things interesting, even if a few compositions may be slightly lacking. The chaotic, yet still clear and audible production also helps flesh-out the emotional impact that Aenaon attempts to obtain - and, for the most part, they succeed tremendously.   Cenres et Sang isn't a flawless album, and Aenaon will still have to work on songwriting a little more before taking the avant-black metal world by storm, but this is still a very impressive debut outing from one of Greece's most promising young acts. If you're an extreme metal fan with an eclectic list of other musical interests, odds are that you'll enjoy Cenres et Sang quite a bit. I'd say 3.5 stars are warranted here. I'll be curious to see where Aenaon heads in the coming years.

by J-Man


Xtreem Music (Es) 9/10 - 17/08/2011

Un disco con esta portada y que empieza con una melodía de saxo tiene muchas papeletas para sorprender… y así es. Pero la cosa no va de excentricidades ni de vanguardismos elitistas, y aunque la mencionada intro se une al primer tema y allí el saxo prolonga un poco más su canto, todo se queda en una pura anécdota. Lo que encontramos después es una música agresiva, tremendamente intensa y muy variada, y ahí es donde de verdad vienen las sorpresas. De hecho la variedad es tal que no resulta fácil situarlos en un género concreto. En principio todo apunta a Post-Black, pero ni la voz ni los ritmos encajan siempre en esa clasificación, salvo en temas como “Kraanerg”, ni tampoco hay las lánguidas ensoñaciones melódicas frecuentes en otros grupos. Y que no piense nadie que han hecho una especie de mosaico heterogéneo con piezas de distintos géneros, en absoluto, la diversidad no le quita ni una milésima parte de cohesión al disco y el conjunto es todo un monolito, música de una pieza y perfectamente coherente.   El álbum cuenta con unos formidables arreglos de guitarras y un trabajo cuidadísimo a la hora de rematar los temas, entretejiendo riffs, frases, arpegios y motivos solistas hasta dar lugar a unas texturas asombrosas. Además está ejecutado con verdadero sentido de la dinámica y los contrastes, lo que resalta aún más la intensidad de los pasajes más agresivos. La voz, sin embargo, se queda lejos de este espíritu y resulta demasiado monótona, tanto por el timbre como por la forma de cantar (con honrosas excepciones como “Carnivora’s lair”) y hasta por sus patrones rítmicos.   También les habría venido bien tener alguna parte pegadiza más, como las de “Grand narcotic harvest” o “Necroscope”, o fragmentos que marquen momentos de especial énfasis en cada tema y los hagan reconocibles. Cincuenta y tres minutos de música es de entrada una buena noticia y en este caso un indicio de creatividad, pero su propia densidad –aparte de que sólo dos temas bajan de los cinco minutos- amenaza por momentos con asfixiarla, otra razón para haber dado a sus canciones momentos que respiren y que a la vez guíen la música en una determinada dirección.   En todo caso la banda demuestra talento, ambición, gusto por el trabajo bien hecho y una admirable madurez para tratarse de un primer disco completo, aunque llevan en activo desde el año 2005. Por cierto, el saxo reaparece en la larga “Black nerve” con un breve pero interesante solo, confirmando que su presentación al principio del disco era anecdótica o, como mucho, una estrategia para captar la atención del oyente. El álbum se despide con una acertada versión de un tema de la película de David Lynch “Eraserhead”, adaptada al propio estilo del grupo y con ciertas reminiscencias de PECCATUM.    

Pedro Ingelmo


Metal Glory (De) 7/10 - 11/08/2011

Die Avantgarde Black Metaller Aenaon kommen aus Griechenland und sind seit 2005 aktiv. Nachdem man 2007 eine Demo(Promo´07) selbst released und danach, im Jahre 2009 und 2010, eine EP(Phenomenon) und eine 7“(A Parallel Zoetrope) mit jeweils einem anderen Label unters Volk gebracht hat, ist man nun bei den Italienern Code666 gelandet. Ihr sozusagen Full Length Debüt hört auf den Namen „Cendres et Sang“(Asche und Blut)und bietet 10 Stücke die dem oben genannten Genre alle Ehre machen und mit viel Progressivität liebäugeln. In manchen Passagen musste ich sogar an die letzten beiden Ihsahn Werke denken. Beginnen tut das Ganze mit einem Saxophon Intro(Kafaesque), welches gleichzeitig die Einleitung in den zweiten Track „Suncord“ darstellt. Hier hört man sofort in welchem musikalischen Fahrwasser sich die Griechen bewegen. Man geht mit Melodie aber auch Vertracktheit zu Werke und verbindet progressive Elemente mit Black Metallischer Aggressivität. Diese Struktur zieht sich durchs ganze Album und bietet dadurch auch die nötige Abwechslung um nicht schon nach der Hälfte des Albums abzuschalten. Die Gitarren kommen mal sägend, mal mit viel Melodie daher und ab und zu auch ein wenig verspielt. Trotz des progressiven Charakters gibt es immer wieder eingängige Passagen, welche sofort zum “mit wippen“animieren. Das Keyboard, welches mehr im Hintergrund agiert, Saxophon(könnte etwas harmonischer eingesetzt werden) und Drums scheinen hier aus der “Dose“ zu kommen. Ich konnte jedenfalls keinen Hinweis auf Musiker finden. Dies tut dem Ganzen allerdings kein Abbruch, harmoniert doch alles mehr oder weniger sehr gut miteinander. Ein Wermutstropfen des Albums ist die “Ähnlichkeit“ der Songs untereinander. Irgendwie sticht kein Stück “extrem“ heraus, was jetzt nicht heißen soll das wirklich gute Songs fehlen. Es ist nur so, dass man alle Stücke auch ohne Pause spielen könnte und es würde nichts ausmachen. Man würde es als ein Megastück empfinden. Welches allerdings eine Menge Abwechslung zu bieten hätte. Gesanglich kommt Astrous hauptsächlich mit Kreischgesang daher, ab und an gibt´s auch Klargesang und auch eine nicht näher benannte weibliche Stimme kommt hin und wieder hinzu. Als Gast ist übrigens bei „Grand Narcotic Harvest” ein gewisser V´gandr vertreten, der den Meisten von den Norwegern Helheim her bekannt sein dürfte. Aufgenommen in 5 verschiedenen Studios, wurde das Ganze von niemand Geringeren als Tom Kvalsvoll gemastert. Dieser schon für Alben von 1349, Ishahn, DHG, Keep Of Kalessin und anderen Größen verantwortlich zeichnet. Das Coverartwork, welches sehr gut zur Musik passt, stammt vom Polnischen Visionär Lukasz Wodynski. Fazit: Experimenteller, avantgardistischer Black Metal der Marke Aenaon sollte aufgeschlossenen Extrem Metal Fans zusagen und wer mit Ishahn´s Werken, und auch dem letzten Hollenthon Album was anzufangen weiß, der sollte auch hier seine Freude haben. Die Griechen können den beiden genannten Institutionen zwar „noch“ nicht das Wasser reichen, aber wenn sie so weiter machen und noch einige kleine Schwächen ausmerzen, sollten sie bald einen großen Schritt in diese Richtung machen.

Anspieltipp: Grand Narcotic Harvest, Necroscope, Black Nerve und als „Geheimtipp” In Heaven


Metal Assault Radio - 05/08/2011

To start off, I was not very familiar with Aenaon, but was optimistic in reviewing Cendres et Sang, their first full length album, after listening to their two EP releases (Phenomenon in 2009, and A Parallel Zoetrope in 2010).  Needless to say, I was not disappointed.  The four-piece hailing from Greece nailed down a great album that gave me the feeling of fulfillment one gets after listening to an album that you know will get steady play in your collection for years to come. The intro clues you in immediately - Aenaon has a clear love for Jazz-infused Black Metal that bridges genres across the Metal spectrum.  That said, the band does it with originality.  This layered, well-delivered helping is original, very listenable, and will capture your interest instantly.  The album features it all - crusty and clean vocals, deadly heavy riffs with properly placed soloing, exceptional percussion work, trance-like bridges, and lastly, the invaluable injection of Jazz-inspired samples, which results in elegantly fierce Black Metal. As a rule, I find a song or two on an album that stands out.  Not to say they are better or worse than the others - they just stand out upon the first few listens.  Cendres et Sang did not follow this rule.  Every song fed off the previous, and created an exploratory journey into the depths of Black Metal and what can be done with imagination and broad left and right musical limits.  I deeply enjoyed this album, and would recommend it as a must purchase when it hits the stores this summer.   Written by The Trooper


Nemesis Webzine (Rs) 14/15 - 03/08/2011

The Greek Black Metal Scene amazed me always with such good and unique bands as Rotting Christ, Varathron, Septic Flesh, Necromantia and some other good bands. The best about the bands form there was always that they were open for new ideas. The newest proof of this is Aenaon. Till now, they brought out the EP “Phenomenon “and a split CD with a Romanian band Satanochio and this is their first album. I didn’t hear the split CD and the EP, so I can’t tell how much they evolved since than. In the info I read about them that their music is Avant-garde Black Metal, but in my opinion, the term Black Metal meets Jazz describe their music the best. These 10 songs from this album are anthems of Greek BM at its best. Since it is my first listening to this band, I was really surprised with the intro on this record. “Kafkaesque” is a true Jazz song. First I fought that there must be a mistake, until I heard the next song “Suncord”, which continues to the intro. After this song I saw that this is no mistake. It shows that one can mix Black Metal with Jazz and that it can sounds good. Just remember what Carpathian Forest did a couple of years ago on the “Strange old brew” album and Necromantia. It’s hard to tell about the Metal influences, since there are elements from a lot of Metal genres. On one hand there are very clear Black and Death Metal elements and on the other hand, the clean vocal reminds me of A. Nemtheanga from Primordial. The vocals go from growls to clean vocals in the Primordial style. The atmosphere on this record is made without any use of keyboards. In the third song “Psychonautic Odyssey” there is some old keyboards from the 70’s to hear. It’s good to hear a band again who makes the atmosphere just by using the basic instruments of Metal without drowning their music with too much keyboards. In the song “Grand narcotic harvest” appears V'Gandr of Helheim as a guest. The song”Black nerve” is the song with the most Jazz influences in it. The band used in this song Saxophone in the slower part, just like Carpathian Forest did. This song is also the longest song on this album. The last song on this record begins with a piano and female vocal in a melancholic way. But, it’s just the silence before the storm to say it so. After the slower part in this song, it changes to a faster part which will be followed by a slower part again. For me, this song is the highlight on this record. I really recommend this record, since the music is something new and well made. The ideas and the atmosphere here are one of a kind and if someone is searching something good in these times, than check this album out and you won’t regret it. I know that I didn’t regret it.

by Petar Mrvic


Brutalism (Nl) 5/5 - 03/08/2011

Aenaon's debut album- 'Cendres Et Sang'- is a unique piece of black metal quality that hasn't been seen in some time since Dodheismgard's last album. It is a mixture of melodic black metal, industrial, ambient, and even progressive metal that is sure to sate plenty of fans across the globe. Rather than take the usual Satanic, tremolo picking and corpsepainted approach, or the highly symphonic approach with a clean, modern sound mixed the harsh riffs, Aenoan choose to start their album out in an odd, weird way that instantly draws attention: jazz. The opening track is a short instrumental but features a full on saxophone for a bit that will appear in other tracks as well, but only briefly. The second track, "Suncord," is more along the lines of the typical harsh, aggressive black style that features well produce snarls that are a hybrid of black and death metal, but the real treat is when everything simmers down in the interlude for a progressive moment and also featuring the jazzy sections again. The two completely contrast one another but make for a very interesting track; one could consider this similar to Ihsahn's progressive black metal work. "Grand Narcotic Harvest" puts a bit of a Twilight Zone spin by adding in looping, sci-fi industrial samples amongst the black metal parts that make it not only probably the heaviest track, but the oddest one of all. It is like listening to the Kovenant, but not with completely saturated in keyboards and the more cheesy industrial bits.  "Once Finite" is about as close as black metal listeners can get to hearing something like Emperor from Aenaon as the atmosphere is a lot more static laden and crackling, which makes the vocals a bit more shrill but one can still detect the melody through the haze and the extreme pace of the music will certainly make fans of 90s black metal appreciate the band if the first couple tracks sounded far too new wave or modern for them. "Necroscope" switches between harsh snarls and almost spoken word moanings, much in the vein of Dodheimsgard again on top of melodic and rock oriented riffs which helps mitigate the raw black metal power of the music. Then there is "Black Nerve," the album epic, which clocks at about eight minutes, but sounds very similar to the second track as how it is mostly chaotic black metal for the first half of the music and then during the interlude extremely jazzy and carries on even after the black metal picks up. It may not be Aenaon's best track, but for those who like lengthier ones will find it a good listen.   Finally the album closes on "In Heaven" which is actually a cover of David Lynch's music from a film called Eraserhead. An odd choice in artist, Aenaon start the track off with some somber piano and even some guest female vocals which sound like StarOfAsh and then just explode in with the black metal which sounds at its most furious with little melody or direction as opposed to just being almost a wall of sound. Eventually the wall thins out and the guitars can be heard more clearly in their hyper-riffs as they carry on, repeatedly, all the way through the music until suddenly everything slows down again for an ambient closing. As a result, fans will probably be in awe of thise album and how complex and enjoyable it is, and most likely end up spinning it again right after because it was either so wild they didn't get it the first time or far too addicting with the progressive and modern elements to make this album anything but boring. 'Cendres Et Sang' is the kind of black metal for those who want to venture into dangerously unpredictable territory.

Posted by devilmetal747


Metalicos (CR) 88/100 - 02/08/2011

Aenaon es una banda griega a la que ya le veníamos siguiendo la pista desde hace rato.  Su sobresaliente EP Phenomenon fue reseñado aquí en y había mostrado cosas bastante prometedoras.  Por eso, al enterarnos de la salida de su disco debut Cendres et Sang, corrimos a chequear el resultado. Y bien... pues benditos sean los dioses olímpicos por haberle regalado a la humanidad la escena griega, sencillamente una de las mejores del mundo. Aenaon recientemente firmó por la disquera de culto code666, que ha sacado algunos de los discos más aclamados del black no convencional en los últimos años.  Naturalmente las cabezas pensantes de la disquera sabían lo que hacían, pues Cendres et Sang ve a la banda dar un salto cualitativo gigantesco, desde su raíz black enfermiza y veloz a una fórmula de avantgarde refinado y demente, donde el tremolo riffing y los segmentos melódicos se mezclan con interludios de saxofón infernal, pluralidad de estilos vocales, teclados fatídicos y macabros… la lista no acaba. Para todos los efectos Aenaon se ha instalado con esta obra en el mapa del black avantgarde mundial, donde bandas como Ved Buens Ende o Arcturus fueron reinas supremas.   El secreto –como ya apuntábamos– está en la variedad de recursos compositivos y en la multiplicidad de arreglos.  Eso sí, a pesar de ser griegos, no esperen encontrar nada en común con los nombres legendarios de la escena como Septic Flesh, Varathron, Nightfall o Rotting Christ.  Aenaon se las ha arreglado para componer un disco original, fresco, sin abusar nunca de los elementos alternativos, pues a final de cuentas la estructura básica de la obra viene directamente del black metal.   A los escépticos del black avantgarde –entre los que me incluyo– debo decirles que pierdan cuidado, Cendres et Sang no es una fiesta de teclados raros o samples con sonidos discordantes (precisamente la fórmula con que muchas bandas creen ser avantgarde).  La primacía aquí la llevan las guitarras de principio a fin, el sonido es crudo a pesar del estilo y los mejores momentos del álbum, son precisamente aquellos en que las guitarras se sueltan con evocadores riffs melódicos, o violentas tormentas respaldadas del siempre bienvenido blast beating.   Ciertamente se notan elementos extraídos del jazz, sobre todo en la batería y los pocos segmentos donde surge el ya mencionado saxofón, pero con un tinte que los vuelve teatrales, lentos y oscuros; kafkianos por así decirlo (no sorprende que la intro del disco se llame de hecho Kafkaesque). En general este es uno de los mejores lanzamientos del año en terrenos del black y eso no es decir poco.  Vayan familiarizándose con este sonido, pues de Aenaon pronto se estará hablando bastante más en todo el mundo.

by Mauricio


Spark Magazine (Cz) 5/6 - 26/07/2011

(Printed - August 2011 Issue)

Takový debut, jaký právě vydávají řečtí AENAON, se jen tak nevidí. „Cendres Et Sang“ je blackmetalovéalbum s dekadentním saxofonovým intrem věnovaným Franzi Kafkovi, závěrem v podobě coververze písně „In Heaven“ ze surrealistického hororu Davida Lynche „Mazací hlava“ a roztančeným rock’n’rollovým rytmem, který všechny šílené experimenty AENAON pohání dopředu. Správně avantgardní atmosféru pomáhají „Cendres Et Sang“ dotvářet ještě příležitostné jazzové vsuvky a ozvěny hammondek, pro vytvoření dojmu naprostého šílenství a chaosu by se bez nich ovšem kapela pravděpodobně vlastně docela dobře obešla. AENAON na to naprosto stačí dvě obyčejné elektrické kytary. Na posluchače se totiž na ploše skoro padesáti tří minut valí nepředvídatelná směs neustále se měnících kytarových motivů, které jsou v jediné skladbě schopné přecházet z kousavých blackmetalových akordů do chytlavých melodických trylků, jen aby se pak bez varování zvrhly v brutální staccato, které opět vyústí v black metal, a ďábelský kolotoč „Cendres Et Sang“ tak může pokračovat dál. A na konci jízdy vás ještě poťouchle vyplivne zrovna před branami Lynchova pekelného nebe...

Jana Vrbková 5/6


Rockap (Gr) - 26/07/2011

Οι Aenaon είναι μία μπάντα που μας έρχεται απο την Κεντρική Ελλάδα (Λάρισα,Βόλο). Δημιουργήθηκε το 2005 και απο τότε κυκλοφόρησαν ενα Demo (2007) το ΕP «Phenomenon»(2009) και πρό μηνών το Split με τους Satanochio «A Parallel Zoetrope». Σε όλες αυτες τις κυκλοφορίες του οι ιδέες του και το παίξιμο τους είχε χαρακτηριστεί αρκετά ενδιαφέρον και θεωρούνταν μια ελπιδοφόρα μπάντα.Όλα αυτά ήρθανε να μας το επιβεβαιώσουν και με το παραπάνω με την πρώτη τους ολοκληρωμένη δουλεία με τίτλο «Cendres et Sang» το οποίο μεταφράζεται σαν «Στάχτες και Αίμα».

Το album κυκλοφόρησε από την Code666 και η Aenaon μας αποδεικνύουν ότι μεσα απο όρεξη, μεγάλη υπομονή, αγάπη και μεράκι και τρομερή έμφαση στις λεπτομέρειες το αποτέλεσμα αγγίζει την τελειότητα, και αυτό έχει να κάνει καταρχήν με το τέλειο εξώφυλο όπου υπεύθυνος είναι ο Πολωνός Lukasz Wodynski προσαρμοσμένο άριστα στο τίτλο του άλμπουμ και στην ατμόσφαιρα αυτού.Επίσης ένας άλλος τομέας είναι αυτός του ήχου δίνοντας τεράστια βάση σε αυτό το τομέα με αποτέλεσμα το άλμπουμ να ηχογραφηθεί σε 5 διαφορετικά στούντιος και το τελικό mastering ανέλαβε ο Tom Kvalsvoll στα Strype Audio στη Νορβηγία.

Το album περιέχει δέκα συνθέσεις πολύ δεμένες μεταξύ τους και με αρκετές αλλαγές στο ύφος τους με σκοπό να μας δώσουν ένα ιδιότυπο Black Metal επηρεασμένο και από death μελωδίες αλλά και μπόλικη δόση από ατμόσφαιρα που σε καταβάλει και καταφέρνει να σε κρατήσει μέχρι το τέλος. Πλούσια και καθαρά riffs στις κιθάρες που συνδυάζονται άψογα με την εναλλαγή brutal και clean φωνητικών μέσα σε ωραία και ουσιαστικά solos και ατμοσφαιρικές τζούρες απο σαξόφωνο και πιάνο.

Οι Aenaon μέσα από μικρά και σταθερά βήματα ωρίμανσης και προόδου μας παρουσιάζουν ένα μαγικό άλμπουμ που σίγουρα περιλαμβάνεται στα καλύτερα του είδους που άκουσα τελευταία και ίσως συγκαταλέγεται στις καλύτερες κυκλοφορίες της χρονιάς από την ελληνικη σκηνή. Κλείνοντας, σε όλο αυτό το εγχείρημα θα πρέπει να σταθούμε και ονομαστικά στις guest εμφανίσεις που βοήθησαν και αυτόι με τον τρόπο τους στη δημιουργία αυτού του αριστουργήματος

Orjan «V’gandr» Nordvik – vocals (Helheim, Aeternus).
Thomais Chatzigianni – vocals (Dakrya)
Vasilis Agiomyrgianakis – grand piano
Christos Agouridakis – alto & tenor saxophone (Orchestra Sonora)
Pantelis Kalogiros – additional piano (Disolvo Animus)

Κείμενο: Γιώργος Αθανασάς


Beat the Blizzard (No) 9/10 - 19/07/2011

The four members of the Avant-garde Black Metal band AENAON from Greece, is out with their first length album ?Cendres Et Sang?. Today, two of the band members are active in VARATHRON and NETHESCERIAL, while they have previously played in among other CHAOTIC SYMMETRY, BLACK WINTER, DUNKEL and SACRAMENTAL CEREMONY.  AENAON released a split 7¨ ?A Parallel Zoetrope? in 2010 and the mcd ?Phenomenon? with six tracks in 2009.    ?Cendres Et Sang? is a mix of experimental and original Black Metal. This brutal, raw, killer CD got ten tracks. There is no time to get disappointed, as AENAON has focused on a wide range within the guitar solos, riffs, as well as the drummer performance. I admit that this is an incredible diverse album. The Avant-garde style is expressed through the musical portion of saxophone and other sounds and effects that occurs in the music.    ?Suncord? is one of the strongest tracks on ?Cendres Et Sang?. The rolling saxophone tones are one of the ingredients here. Through the ending section of the song, the vocalist pushes his voice to be heard, and the song just blows away like a beautiful storm, with tremolo picking and high flying solos. It becomes a pleasant atmosphere. There are nice rhythms and time changes in ?Carnivora's Lair? with a range of different guitar performance. The band really shows their musical skills. I got a bit surprised when I heard ?Necroscope?, mostly because of the guitar solo, which gave me folk/viking Metal vibes. This is a relative slow, but nice track that stands in contrast to the rest of the songs, which are more intensive and aggressive. ?Black Nerve? starts with a fascinating solo. This restrained song pulsates up nice against the end of the album, with the sound of the saxophone that slowly cries it?s tears.   AENAON lies at a very high level technically, and I suppose that they would have drawn a large audience at the Inferno Metal Festival.

Reviewed by Linn-Elise Jenssen


Metalitalia (It) 7/10 - 19/07/2011

L’ascesa della scena greca non sembra subire arresti: dopo l’acclamato ritorno sulle scene dei SepticFlesh ed il marciume messo in musica dai Necrovorous ecco comparire dal nulla il debut degli Aenaon, quartetto dedito ad un avant-guarde che non ha nulla da invidiare ai grossi nomi della scena. Difficile inquadrare la proposta del quartetto di Larissa, vista l’abbondanza di particolari eccentrici racchiusi in questo debutto, introdotto dalle suadenti note di un saxofono: la quantità di elementi racchiusi nell’opera non inficia l’aggressività delle composizioni, elemento sempre in primo piano in tutte e dieci le tracce incluse nell’opera. Contrariamente all’impenetrabilità di molte opere dello stesso genere, gli Aenaon riescono a convincere dopo pochi ascolti, merito soprattutto della freschezza ed irruenza del comparto chitarristico delle formazione: i riff taglienti e dotati di buona complessità bastano da soli a fornire un buon spessore al lavoro, rendendo immediata e talvolta catchy – il riff iniziale di “Psychonautic Odyssey” e le melodie di “Necroscope” parlano da sole – la proposta del combo greco. Il lato più diretto ed aggressivo viene a galla nelle veloci “Grand Narcotic Harvest” e “Kraanerg”, tracce che affiancano un riffing prettamente black metal break spezzacollo, samplers, parti in cantato femminile, arpeggi acustici oltre che ad intermezzi in cantato pulito. La particolarità delle melodie dell’opera sopperisce in qualche caso – “Once Finite” ne è un valido esempio – a qualche calo di ispirazione presente nel lavoro, contribuendo a mantenere su un buon standard qualitativo l’intera opera: riuscita e perfettamente integrata con il mood dell’album la cover di “In Heaven”, pezzo di David Lynch incluso nel film Eraserhead. Pur con qualche leggera caduta di tono “Cendres Et Sang” centra senza troppi problemi l’obiettivo e considerato che si tratta della prima pubblicazione ufficiale della formazione non possiamo che ben sperare per il futuro di questa giovane promessa greca: conclude il quadro una produzione assolutamente all’altezza ed un artwork che ben si integra con la particolarità della musica degli Aenaon. Un succulento inizio di carriera.


Sonidos De La Cripta (Es) - 16/07/2011

Desde hace unos cuantos años la escena metalera griega nos ofrece un buen puñado de muy buenas bandas de relieve a nivel internacional, como Rotting Christ, Septicflesh, Suicidal Angels, Transcending Bizarre?, Nightfall por nombrar unas cuantas, y viendo el debut que se han marcado Aenon, me da la sensación que no solo esto tiene pinta de seguir avanzando en el país heleno, sino que además los alumnos tienen ganas de superar a los profesores. Lo que aquí se nos presenta con “Cendres Et Sang” (cenizas y sangre) es un gran trabajo vanguardista de metal extremo, más que black metal en concreto que se nos presenta con una portada espectacular, siguiendo el buen gusto de artístico de los griegos, en el que ya empiezan a darnos muy buena impresión, pero como de portadas no viven los músicos, os comento que me ha llamado la atención de este álbum.   Comienza a correr la primera pista y nos encontramos con un recurso que últimamente utilizan varias bandas de black metal que se les etiqueta de “Avant-garde”, me refiero al uso del saxofón, la mayoría de estas bandas creen que están haciendo algo alucinante con esta introducción de nuevos instrumento, pero en muchas ocasiones el resultado es lamentable, en el caso de este álbum en cuestión se trata de crear atmósfera en algún tema y en algún otro complementa de manera sutil al resto de instrumentos, sin destacar especialmente, aunque tampoco se puede obviar.    Esta banda ha sido capaz de crear un paisaje sonoro oscuro, sin resultar en ningún caso depresivo, que te envuelve durante los casi 53 minutos de duración del mismo, siendo capaces de combinar elementos de la vieja escuela bleckmetalera con otros innovadores, consiguiendo un sonido muy moderno renovador. Pero sobre todo envolvente.   Aunque se trata de metal extremo, no me resulta especialmente agresivo aunque si aguerrido, la combinación de elementos de jazz, melodías de gran riqueza que se deslizan sensacionales y coloridas dentro de la oscuridad ( a veces épicas) y composiciones progresivas y envolventes hacen que este sea un trabajo muy fácil de digerir para la mayoría de oídos, aunque no estén excesivamente curtidos en los campos de batalla de la música extrema.    No deja de sorprenderme en ningún momento, afilados riffs de gran fuerza que suenan en permanente estado de euforia, unos solos de guitarra espectaculares y en general unas composiciones trabajadísimas que ejecutan con gran maestría, a lo que sumamos una garganta que gruñe de manera punzante y el resultado es una obra muy dinámica, de lo más entretenida y recomendable.   Esto es lo que encontramos en un álbum lleno de sorpresas cautivadoras, no será un servidor quien las desvele, pues perdería el encanto, solo decir que el remate del álbum es un tema, que simplemente te dejarán sin palabras… hay que descubrirlo.

written by ShowNoMercy  


Metal Review 9.5/10 - 08/07/2011

Well, Greece has done it again. They’re already able to claim Septicflesh and Rotting Christ as their own, and now the Greeks have unleashed Aenaon. This avant-garde black metal group possesses such strong technical ability and songwriting chops that it’s damn hard to believe this is their first full-length album. Cendres et Sang (which is French for ‘Ashes and Blood’), is a wonderfully creative and exceptionally well-produced record that should not be overlooked. Aenaon has a mature and compelling sound, and they create their multifaceted, innovative, and chaotic brand of metal with four talented members. To put it bluntly, this band has their shit together.   Aenaon opens the album with a shimmering saxophone intro (entitled “Kafkaesque”), followed by “Suncord”, which fully immerses the listener in black metal/jazz fusion that never becomes unlistenable or unnatural. Even though there are layers upon layers of genre-bending sound, the entire piece remains cohesive and engaging. The sections of atmospheric, haunting jazz are executed just as brilliantly as the momentous black metal segments. The band’s ability to create intricate song structures is certainly commendable, but they can also pull back and write aggressive and straightforward metal with mass appeal, as is the case on “Psychonautic Odyssey”. Even on this less complex track, Aenaon still incorporates their experimental side, and there’s Hammond organ alongside the chugging riffs and blast beats.   Every track has great strengths, and there’s something on this album that will resonate with every listener. Aenaon doesn’t depend on their use of unconventional elements to define their sound, and their appeal is deeply rooted in excellent songwriting and genuine brutality. Cenres et Sang is full of brilliant performances from each member of the band; The rhythm section is crushing and tight throughout dynamic shifts in mood, vocalist Astrous provides commanding mid-range growls, and the guitar work is fantastically versatile.   Any band that combines blackened jazz with David Lynch has my support, and Aenaon concludes their incredible first release with their take on the song “In Heaven” from 1977’s “Eraserhead”. Opening with eerie piano and female vocals, the unsettlingly subdued atmosphere is highly reminiscent of Unexpect. This soon gives way to complete mayhem, and the once-sung lyrics are roared as the decaying walls of sound come crashing down. Toying with the audience’s sanity for five minutes, the piece alternates between these two stark contrasts before the sinister piano fades into silence. “In Heaven” is an absolute masterpiece of a track, and a brilliant example of how a band can take pre-existing material and make it their own.   Aenaon has admirable focus, exceptional musicianship, and magnificent songwriting. While they have certainly been influenced by bands like Emperor, Shining (Norway), and DHG, the group has created an experimental, yet accessible sound that is all their own. After hearing what this band has to offer, I can say without hesitation that Aenaon has boundless potential, and their music is a force to be reckoned with.

Written by Rae Amitay


Metal Command Mag. (De) 8.5/10 - 07/07/2011

Surprisingly, there are still bands around that I like a lot although they are not interested in all the retro- and rehearsal warfare noise and stuff. One of these bands are without doubt AENAON from Greece. I even liked their first mini-cd "Phenomenon" (2009) and the split-7" with the Romanian horde SATANOCCHIO (2010) a lot before. I listened to them several times during the last weeks and months. But this time it´s not as easy as before to get along with it. An intro with saxophone reminds me on old 1970´s Krautrock. And it seems this happens on purpose here! Of course, there´s still a lot of Black Metal, rotten vocals, much doublebass, often very fast, sometimes more rocking stuff. Here and there there are also hymnic and melodic vocal lines ("Grand Narcotic Harvest") which always do well! There are always nice melodies and - again - little saxophone passages in between ("Black Nerve") which reminds me a bit on PINK FLOYD´s „Dark Side Of The Moon“. Also, AENAON are not afraid of using female vocals here which is comparable to the later, experimental era of THE GATHERING. But most of the time there is rocking Black Metal in the veins of later albums by SATYRICON, DØDHEIMSGÅRD or THORNS; but not as weird. By the way, this album is totally anti-trend, very unique and interesting! It´s hard to imagine what´s gonna happen next with the band! I like it a lot, but you should listen to the album before you just order it anywhere!

Check these guys out at:

by Daniel Müller


Absolute Zero Media (Us) - 05/07/2011

Well Well Well Post Black metal in the vein of Manes, Negura Bunget, Saytricon, DHG and Khold in what is a  very interesting and innovative sound. But with a label like Code 666 what would you expect. Love this sound that mixes Black metal with hardrock, Blues, Jazz and Carnival music in a way to even put Ulver fans at a frenzied pitch. Aenaon are a band that want to be in a league all there own and with this release that are a cut above the rest for sure. The vocals are sung, cried , screamed and growls sometimes in the same passage. I don't what to use the word epic but something more like massive and majestic fit into what the band is trying to present for sure. I'm a sucker for horns esp jazzy ones so thank you for that on the very 1st track to start out. 2011 is becoming a very good year for new music..


Femforgacs (Hu) 9.7/10 - 05/07/2011

A feltörekv? Aenaon (a görög szó jelentése: örökké folyó lét) kapcsán már írtam nem egyszer, így talán mell?zném is az egyre inkább avantgárd halmazok felé közeled? modern black metal horda már többször felvázolt múltját. Koncentráljunk a jelenre, hiszen még egy hónapja sincs, hogy a hirhedt Code666 piacra dobta a csapat els? és önálló debütjét. A hangzásért Strype Audio avagy Tom Kvalsvoll a felel?s, természetesen professzinális és olyan kultikus leképz?désekben volt benne a keze, mint az 1349, Keep of Kalessin vagy a Code. A küls?ségek is pazarok; Lukasz Wodynski a fed? fest?je és az illusztrációk kiagyalója illetve is remek digitális bookletet röffentett össze, elég legyen annyi – nemzetközi szint? a dolog, én pedig éppen ezért vagy ett?l függetlenül nagyon vártam már az anyagot. A görög srácokkal heti levelezésben voltam, és ígéretükhöz híven elküldték a lemezt, mely saját példányuk volt a kiadótól. Nagyon vártam és egy picit csalódtam – olyan nagyot azért nem, hiszen a pontszám is mutatja – gond az nincs az anyaggal. Szóval nekem csak egy ici-picit konyult le a szám, mert többet látok a bandában és több kísérletezést vártam volna.  A korábbi írásaimban az Aenaon-t gyakran hasonlítottam az Emperor komplex és jól sikerült alternatív síkjának, ha úgy tetszik ügyes fénymásolatának, direkt vártam, mennyire hagytak fel az egykori nagy ?s majmolásával (még ha jól is csinálták) illetve a levelezésb?l kiderült már korábban is hogy egy kicsit más irányban igyekeztek elmozdulni. Azért evidensen az Emperor sok helyen jelen van de más vegyítések és kémcsövek is felt?nnek; a rengeteg igényes szóló és lüktetés mellett megjelent a jazz is mint m?faj. Keveredése maximálisan zökken?mentes, oda ill?, bele való és éppen ez a bajom, hogy ennél merészebbek is lehetettek volna. Gyakran jutott eszembe amúgy az Ulver, korai Fleurety és az utóbbi Enslaved neve.   Érdekesen hat, hogy egy film zenei mimézisére is vállalkoztak a David Lynch-es aberrált m?vészeti mélységek távlatából felszínre hozni az In Heaven (Lady in the Radiator Song) kapcsán az egykori Eraserhead megragadt pillanatait, furán és gigantikusan hat a zongora és n?i vokál. Bár ha már itt tartunk, lehet el?nyösebb lett volna David Cronenberg féle William S. Burroughs adaptációjaként ismert Meztelen Ebéd-del (Naked Lunch) próbálkozni - hiszen nagyon gyakran ugrott be a beteg képi és zenei világ kapcsán - jazz témákat nézve muzikálisan is, talán majd legközelebb. Minden dal megkomponált, komoly tudással megtekerve és még két el?nye van a korongnak; az els? gyakorlatilag evidens hagyaték, hiszen változatos és sokszín?, ahogy az imént fel is vázoltam – így tehát korántsem unalmas, viszont a másik pozitívum, amit mostanság egyre kevesebbszer érzek: a Cendres Et Sang egyáltalán nem izzadság szagú, semmi er?ltetés illetve megfelelésb?l adódó dallamos vagy durva rész nem merül fel. A jazz részek is annyira szórakoztatóan és lágyan vegyülnek, természetesnek hatnak, melyben a szaxofon is segít atmoszférába szakadni. Régen hallottam ennyire jól sikerült és önfeledten mélyül? black metal anyagot, amely nem csap át a m?vészkedés délceg da annál sikamlósabb önanalízisébe. A progresszív szólók és könnyed súlytások közepette a szövegvilág koncepciója se a megszokott klisék várományosa, hiszen az emberi lélek létezésén derengenek, a végtelen univerzumon és sok más különböz? és rejtélyes dolgon, melyek élet és halál köré fonódtak az évezredek során.   Epikus szárnyalások a patetikus semmibehullás felé, mélyen szántó zuhanások és már szinte fegyelmezett jammelésbe átível? jazz mozdulatok, ezek határozzák meg a várva-várt debütöt, melyen két ismertebb vendég is besegített egy-egy nótában; Thomais a Dakrya-ból illetve V'Gandr a Helheim-b?l. Az egyetlen, amit sajnálok, hogy nem voltak még ennél is bátrabbak, s bár az egykori európai kultúra székhelye lázadások és utcára vonuló elégedetlen tömegek színtere, akiket még jobban igyekszik az állam megfejni, hogy foltozni próbálja a megszorításokkal az egyre tátongóbb, s az elmúlt 15 évnek köszönhet? államháztartási hiányok szakította lyukakat. Ez a sz?zhártya ténylegesen nem foltozható banki gyors csomagokkal, államkötvény manipulációval és strukturális átcsoportosításokkal - s persze ett?l mi sem állunk annyira nagyon-nagyon messze már, de ne foglalkozzunk az eljövend?vel, inkább vigadjunk a jelenben és örvendezzünk görög barátainkkal, akik kormányuk és nemzetük zátonya ellenére egy maximálisan professzionális anyagot tettek le arra a bizonyos asztalra, nem kicsit... nagyon!

Pataki Zoltán

Related to the emerging Aenaon (the Greek word means: eternally flowing existence) I have already penned a review, so I would rather leave out the detailed past of this modern black metal horde, sailing in avantgarde waters, again. Let's concentrate on the present, since not even a month passed, since the notorious Code666 threw the band's first debut on the market. For the sound Strype Audio, also known as Tom Kvallsvoll was responsible, naturally he's professional and such cult formations bear the mark of his hand as 1349, Keep of Kalession or Code. The externalities are marvellous as well; Lukasz Wodynski painted the cover and made the illustrations up, put a great digital booklet together as well, let it be enough - this work is international and I was waiting for this release, for this reason and not for this reason at the same time. Weekly I changed mails with these Greek guys and as they promised they send me this disc which was their own copy from their label. I was waiting for it so much and I got a little disappointed - not that much, as the points show as well - there's not much problem with the material. So only a little disappointment I sense, personally, since I see more in the band and I expected a more experimental vibe. In my previous writings I often compared Aenaon to Emperor, as the latter one's complex and well-structured alternativ scape, if you like, a smart photocopy, so I intentionally wanted to experience how much they gave the mocking of the great forefather up (even though they did it well) and it became clear to me, based on our correspondence that they tried to move towards a little different direction. Obviously, Emperor are present at many places, but other compounds and vials appear as well; also the genre of jazz appears next to the huge amount of demanding solos and pounds. This compound's mixture is smooth at the maximum, it fits in and actually this is my problem, they could have gathered a little more courage. Anyway, often Ulver, early Fleurety and the latest Enslaved dropped to my mind.    Interesting enough, they have taken on a movie's musical mimesis too, bringing Eraserhead's grasped motions up to the surface , from the aberrant artistic distances of David Lynch, related to the In Heaven (Lady in the Radiator Song). The piano and female vocals seem really weird and gigantically they sound. Ok, when it comes to this topic, it might have been more advantageous to try William S. Burroughs's Naked Lunch, an adaptation by David Cronenberg - many times it came to my mind because of its sick visual and musical world - , even music-wise if we take these jazz themes. Maybe next time. Every song is well-composed, twisted with serious skills and there are two more advantages I can mention; first is the practically evident heritage, since this is varied and colourful, as I have just coined it up - so it never turns to boredom. The other positive fact is something which I feel less and less these days: Cendres Et Sang doesn't stream that certain smell of sweat, nothing was forced, neither a melodic nor a harsh part just to satisfy the expectations. Jazz parts mix so smoothly and soft and in a more recreational way, it sounds so natural, when saxophone helps us get ripped into the atmosphere. Long since I heard such a fine and smoothly deepening black metal material, which doesn't cross the self-analysing borders of exaggerrated artistic integrity. Next to the progressive solos and easy strikes, their lyrical conception isn't nominated for the award of usual clichés. Their lyrics elaborate over the existence of the spirit, the endless universe and many different and mysterious things which entwined life and death during the ages.   Epic flights towards pathetic fall into nothingness, falls of deep essence and jazz motions turning to almost balanced jams, these are the characteristics of this long-awaited debut and two known guests also took part in two songs; Thomais from Dakrya and V'Gandr from Helheim. The only thing I regret that they haven't been even braver, though the heart of past's European culture is the place of rebellions and dissatisfied masses, striking in the streets, who are constantly getting milked by the government to fill in the holes which were pierced by the lack of the national budget in the past 15 years and these gaps get wider and wider with these restrictions. This hymen cannot be restored by fast bank packages, bond manipulations and structural transfers - and of course we are not too far from these things either, but let's not care about the future, but let's rejoice in present times, together with our Greek friends who - despite of their nation's and government's reefs - managed to put a professional material at the maximum level on that certain table, not just a little... but very much!

Pataki Zoltán


Rockerilla Magazine (It) 8/10 - 03/07/2011

(Printed - July 2011 Issue)


Terrorverlag (De) - 02/07/2011

Black Metal aus Griechenland ist ja auch eher selten, zudem noch recht guter. Avantgardistisch geht´s mit dem passend betitelten Intro "Kafkaesque" los, Saxophon-Töne hat man ja auch nicht jeden Tag auf seinen Black Metal-Werken. Das setzt sich durch die ganze Scheibe so fort, Ambient/ Avantgarde wird hier groß geschrieben, was sich auch im progressiven Songwriting einstellt. Es wird zwar auch mal regelrecht gedeibelt ("Grand Narcotic Harvest", "Kraanerg"), aber neben dem harschen Hauptgekrächz gibt es auch cleane Gesänge (männlich wie weiblich) zu vernehmen.  Streichinstrumente finden auch Verwendung, die häufig auch mal getrageneren Tracks erinnern eher an epische BATHORY, denn an Früh-90er-Geballer. Dennoch klingt man in den blackigen Parts sehr nordisch (das langsame "Necroscope" erinnert von der Atmosphäre her an EMPEROR oder IMMORTAL!), von griechisch ist hier nix zu hören. Black Metaller, die auch mal ein offenes Ohr für anderweitige Sounderweiterungen haben, sollten bei den vielfältigen AENAON unbedingt mal vorbeischaun!



Adequacy (Us) - 01/07/2011

For a long time I lived and died by the staple of the Greek black metal scene, Rotting Christ; never really exploring bands from the Mediterranean as much as I would have liked.  Since I am always on the hunt for anything new in the metal scene it was very fortuitous that I happened upon Aenaon’s latest offering Cendres Et Sang.  What Aenaon attempt to do is blend two diametrically opposed genres of music: jazz and black metal.  Just the mentioning of this would leave one thinking that this combination just isn’t going to end well.  Nevertheless, as the old and overused adage goes, looks can be deceiving. Aenaon are quite an intriguing band to say the least.  One band that comes to mind in terms of sound is Aborym and in all honesty, Aenaon hit just as hard as Aborym in shear intensity as well as melody.  Most songs follow the same structure of heavy blast sections coupled with methodically placed jazz interludes.  Now I know you may be thinking, “what the hell?”  Surprisingly, it manages to work on some weird plane of existence where two polar opposite styles are transfused into an unholy union.  The song “Suncord” is a perfect representation of what this band is all about, from its straight ahead black metal tendencies, moody jazz breaks and an operatic, over-the-top vocal delivery from Astrous that can be likened to the style employed by Nemtheanga from Primordial . Let me take a moment here to make mention of the jazz side of things.  While it is used somewhat sparingly it appears in the intro track “Kafkaesque” exclusively and then is interspersed throughout songs as break sections as I previously mentioned.  At some points the saxophone parts sound reminiscent of something that John Zorn and Mike Patton would do with their project Moonchild.  There are a few instances where the jazz parts tend to detract from the overall integrity of the album, but I have been spinning this disc off and on for a week straight.   Cendres Et Sang seems to peak around the song “Necroscope” and never seems to get back its overall intensity.  Not to say that the last two tracks aren’t good, but they sound more forced and flatter in comparison with the rest of the album.  Also, look for a cover of “In Heaven” which was taken from the David Lynch movie Eraserhead.  This choice appears as little more than a throw away track, but I guess they were looking to mix it up a bit.   All in all Aenaon pack a major punch and bring a lot to the table with Cendres Et Sang.  While I don’t think the album is all that groundbreaking I definitely admire the effort that is put forth and feel that it is worth checking out.  I think that if they stay the course in another five years or so they could be pretty huge.

by Royale


Legacy Magazine (De) - 01/07/2011

Code 666 beweisen wieder einmal ihr Händchen für außergewöhnliche Künstler. Aus Griechenland kommen AENAON, die sich gemäß Label-Info dem avantgardistischen und visionären Black Metal verschrieben haben. Nach einer Demo, einer EP und einer Split versuchen sich die Griechen mit „Cendres Et Sang“ erstmals an einem Full-Length-Album. Angefangen mit einem Intro, dessen verspielte Saxofon-Klänge den Label-Kollegen Blutmond ebenfalls gut zu Gesicht gestanden hätten, beginnt eine abenteuerliche, Black Metal-lastige Reise durch Leben und Tod. Unzählige verspielte Riffs, Jazz-Einflüsse, abstruse, unkonventionelle und dennoch packende Melodien und aberwitzige Breaks innerhalb der Tracks machen „Cendres Et Sang“ zu einem Erlebnis. Ebenso abwechslungsreich gestaltet sich auch der Gesang auf dem Erstling der Griechen, von Gekreische bis hin zu beinahe gehauchten Clean-Vocals bieten AENAON dem Hörer eine Vielzahl von Eindrücken. ‚Black Nerve’, mit etwas über acht Minuten Laufzeit das längste Stück des Werks, wartet wie schon das Intro mit passendem Saxofon-Spiel auf. AENAON schaffen es, diese ruhige und atmosphärische Passage perfekt in das Stück zu integrieren und das Ganze mit einem ambienten, beinahe Dronelastigen Outro ausklingen zu lassen. ‚In Heaven’ fällt anfangs mit sanften Klavierklängen und zartem Frauenstimmchen etwas aus dem Rahmen, bevor die gewohnte griechische Brutalität wieder ihren Lauf nimmt. Unterm Strich ist „Cendres Et Sang“ leider dennoch nur ein sehr solides Black Metal-Album. Die Riffs klingen untereinander noch zu ähnlich, das überwiegende Gekreische ist stellenweise beinahe nervig gleichförmig, und insgesamt meint man stets, die eine oder andere Passage schon mal in ähnlicher Form gehört zu haben. Potenzial ist bei dieser Band durchaus vorhanden, weswegen man sie unbedingt im Auge behalten sollte. „Cendres Et Sang“ ist ein Anfang mit viel Luft nach oben, aber dennoch ein Werk, das dem geneigten Black-Metaller gefallen dürfte.



The Bloodcult (Gr) - 28/06/2011

Cendres et Sang (=Ashes and Blood) is the new long-awaited full-length of the Greeks AENAON… The discrete and dedicated-to-the-cause path they have been walking from the very beginning has lead to this release by code666, a label known for its unconventional band roster. Such is “Cendres et Sang”, an unconventional album but instantly comprehensible by all those who appreciate evolution in Black Metal. Of course we must note that this release is not another mishmash of experimental tracks artistically “licenced” and bound to leave you utterly confused.

Yes, most DHG fans and experimental lovers will enjoy this one very much indeed, that is a fact. However, AENAON do not oversee their Black Metal roots and have “sculpted” the tracks in such a way so that there is no room left for musical vagueness while experiencing the album. For example, after reaching the peak of avant-gardism (e.g. chorus of "Grand Narcotic Harvest"), afterwards they do not hesitate to offer you an in-your-face blasting "version" of it, with no second thought whatsoever. This “recipe” has proven successful. The album is addressed to a wider, “trained” fanbase of experimentalism in Black Metal and at the same time manages to be comprehensible and straightforward, presenting a vast amount of inspiration which instantly travels you to higher planes of musical pleasure. This is really hard to accomplish and I must congratulate the band for their honest effort, ideas and technical skill. “Cendres et Sang” shouts for your attention and appreciation, as, apart from the music, it comes in a fully qualitative artistic “package”.

The guitar work is stunning, solos are enchanting, vocals are multidimensional and full of feeling, in total harmony with the music. Equally enchanting was "Psychonautic Odyssey" which brought in mind the "A Parallel Zoetrope" period (“I, Tyrant”), “Suncord”’s riffs are definitely some of the most memorable moments in the album, and of course none can ignore the simply amazing "Grand Narcotic Harvest". My personal fave has to be "Necroscope", after having listened to the album many, many times. A very special surprise is the closing track “In Heaven” (PIXIES), presented in a version of their own, reflecting haunting images of “Eraserhead” by David Lynch in your mind… This track is beyond description, you have to EXPERIENCE and not simply listen to it… It will leave you speechless after 03:30 min… There is no need to say more, I have to admit it has been a long time since I listened to an album by a Greek band that pleased me to such extent. Congratulations to AENAON and lets hope the best is yet to come! People, get this album… NOW!


Cendres et Sang (=Ashes and Blood) is the new long-awaited full-length of the Greeks AENAON… The discrete and dedicated-to-the-cause path they have been walking from the very beginning has lead to this release by code666, a label known for its unconventional band roster. Such is “Cendres et Sang”, an unconventional album but instantly comprehensible by all those who appreciate evolution in Black Metal. Of course we must note that this release is not another mishmash of experimental tracks artistically “licenced” and bound to leave you utterly confused. Yes, most DHG fans and experimental lovers will enjoy this one very much indeed, that is a fact. However, AENAON do not oversee their Black Metal roots and have “sculpted” the tracks in such a way so that there is no room left for musical vagueness while experiencing the album. For example, after  reaching the peak of avant-gardism (e.g. chorus of "Grand Narcotic Harvest"), afterwards  they do not hesitate to offer you an in-your-face blasting "version" of it, with no second thought whatsoever. This “recipe” has proven successful. The album is addressed to a wider, “trained” fanbase of experimentalism in Black Metal and at the same time manages to be comprehensible and straightforward, presenting a vast amount of inspiration which instantly travels you to higher planes of musical pleasure. This is really hard to accomplish and I must congratulate the band for their honest effort, ideas and technical skill. “Cendres et Sang” shouts for your attention and appreciation, as, apart from the music, it comes in a fully qualitative artistic “package”.     The guitar work is stunning, solos are enchanting, vocals are multidimensional and full of feeling, in total harmony with the music. Equally enchanting was "Psychonautic Odyssey" which brought in mind the "A Parallel Zoetrope" period (“I, Tyrant”), “Suncord”’s riffs are definitely some of the most memorable moments in the album, and of course none can ignore the simply amazing "Grand Narcotic Harvest". My personal fave has to be "Necroscope", after having listened to the album many, many times. A very special surprise is the closing track “In Heaven” (PIXIES), presented in a version of their own, reflecting haunting images of “Eraserhead” by David Lynch in your mind… This track is beyond description, you have to EXPERIENCE and not simply listen to it… It will leave you speechless after 03:30 min… There is no need to say more, I have to admit it has been a long time since I listened to an album by a Greek band  that pleased me to such extent. Congratulations to AENAON and lets hope the best is yet to come! People, get this album… NOW!



Metal Storm 8.5/10 - 26/06/2011

Many bands coming from Greece whenever they chose a more aggressive sound pathway in the metal scene their most apparent references used to rise from Rotting Christ and Septicflesh, at least in the past. Within the last few years some things seem to be changing and Aenaon is one those "heretic" bands that had the vision/will to not worship what's already famous and follow a different road. Cendres Et Sang (Ashes And Blood) is their debut album and it's here to propose a more avant-garde aspect of black metal. The cover artwork (Lukasz Wodynski ) is tempting enough and holds a sullen grandeur of its own, a very good first impression is always welcome! The saxophone during the intro ("Kafkaesque" - what a nice title) lends some hints n' tips of what will follow and "Suncord" which holds a Ved Buens Ende accent concurs. The soundscape becomes clearer and a maelstrom of ideas is about to unfold in front of your very... ears. We're dealing with a work that's paying its small tribute to aspects of more traditional black metal and at the same time pins the term "traditional" on the wall until it bleeds experimentation. Apart from Ved Buens Ende you will witness some references to Dødheimsgard, Satyricon and Shining to name a few that come to mind at the moment. Of course it's not only about influences, it's also about ideas and inspiration, it's all about respect and self-expression and Aenaon succeed in it. Order and disorder forge an ill-natured alliance that holds its basis in black metal with three neurons that transmit jazzy, some sort of mechanical vibe and avant-garde (the Norwegian way) signals equally.    Everyone involved in this recording plays an important role and it's quite distinctive, from the band members to the guest musicians (V'gandr of Aeternus and Helheim, Thomais Chatzigianni of Dakrya etc). The guitar work is fabulous; sliding melodies, razor-sharp or maneuvering riffing with a strength of its own, even some beautiful soloing ideas (you have to love the way "Black Nerve" opens) among a wide variety of ways of expression that enrich the soundscape. There's definitely something odd and welcome at the same time within some effects in the guitars and in general, mental euphoria, dissonance and a variety of conditions/emotions come to the surface. The vocals are vibrant, they lend their own pulse in the compositions. Astrous' throat is a coal mine, ranging from edgy and sharp husky grunts to ecstatic boiling (un)clean singing that entrances the atmosphere. Last but not least, the rhythm section is dynamic, non-verbose but with interesting key signatures and the most important thing is, it's omnipresent and not buried, after all the spot-on production is complimenting the album.   The album couldn't just reach the end with an outro or any other composition. The In Heaven cover (from David Lynch's Eraserhead soundtrack) is of extraterrestrial beauty, the more i listen to it the better it gets. Emotionally pompous piano melodies and a magnificent interpretation from Thomais in a Gitane Demone meets Mary (Mary And The Boy) delirium from a daydream nightmare that comes to life when the band emerges to make the overall ambiance even more suffocating. Had I been David Lynch, I'd work on an abstract video clip with Aenaon.    Anyway, debuts like Cendres Et Sang make this world a better place to live in, as for me, I'm already waiting for their second attempt.

Performance: 9
Songwriting: 8
Originality: 8
Production: 9

by DerRozzengarten


Don't Count On It Reviews 9.5/10 - 26/06/2011

Finally I can cover this thing, I have to say that since I found out about this full-length album I've been looking forward to it. This debut full-length is something I thought should have come out a little sooner, but I can't really hate on when a band gets to release an album too much. I've been anticipating this since I first found out about their 2009 EP, so, it's been a little while.  From the opening notes of this album, you'll understand that this band has no intention of trying to copy or rip-off another group's style. When you open a black metal, overarching term here, album with a saxophone solo, you should know you're gonna get something a little off the wall. So besides that, you also have influences coming in from blues and jazz, as well as some more "industrial" at times, I'm using the term very loosely here simply because some parts on a track like Grand Narcotic Harvest remind me of a group like DHG. You can't call the eight minute Black Nerve not a highlight on here, it simply has everything that a good progressive tune should have, good riffs, nice transitions and a hook that should make it stand out from shorter tracks. Album closer, In Heaven, is a little weird as well, coming from the famous David Lynch film "Eraserhead," it's definitely a standout on the album simply for it coming from that. They really make this cover unique, not only making it really extreme, but keeping the dark atmosphere of the original, perhaps making it even more of an avant-garde piece.    Besides this group's interest in experimenting, they also have a nice talent for writing good songs. Being unique and weird is all fine and good, but it's always nice if you can write a good song, and tracks like Psychonautic Odyssey really stand out simply because of interesting arrangements and nice riffing. While I would have liked to have heard some better choruses, the track they contributed to the "A Parallel Zoetrope" split had a great chorus and I would have liked to have heard some more moments like that, but I think the riffing on here is much better than on that song, so I'd call it an even trade off, a track like Carnivora's Lair demonstrates the band in more of that vein if you were wondering what that track on the split sounded like. This album also has it's moments of more demented straightforwardness, Kraanerg manages to make quick work of other tracks on the album by being the most consistent in it's aggression and intensity.    I really enjoyed this album and it didn't let me down on any fronts, great debut full-length. I'm sure the diversity will definitely turn some people off, but if you're into the more experimental side of black metal, I definitely urge you to check this record out. This comes highly recommended.

Overall Score: 9.5

Highlights: Every Track Is A Highlight


Schwarze News (De) 8/10 - 06/06/2011

Die aus Griechenland stammenden Schwarzmetaller Aenaon haben nun nach zwei EPs endlich ihr erstes Album fertig, das sie bei Code666 veröffentlichen. Beim Mastering hat man sich für Tom Kvalsvoll von den Strype Studios entschieden, der schon durch seine Arbeit mit Emperor, 1349 und Keep Of Kalessin glänzte. Thematisch geht es bei der CD Cendres Et Sang der seit 2005 bestehenden Gruppe um eine Reise, die das schwarzmetallische Gefühl anschneidet und es mit den experimentellen Bedürfnissen frei denkender Musiker verbindet, so Sänger Astrous.   Frei wird hier in der Tat einiges gehandhabt. So beginnt das Album mit dem Instrumental „Kafkaesque“, wo uns ein Saxophon entgegenbläst. Pünktlich mit „Suncord“ setzt dann das Schlagzeug mit einer ausgezeichnet gestimmten Snare ein. So langsam schwant einem, was hier gleich kommen wird, und nach einer halben Minute setzt der Rest der Band ein und fegt mit donnernden Riffs und Doppelbass über den Hörer hinweg. Das Saxophon läuft dabei weiter im Hintergrund mit und die Melodieinstrumente machen ihrem Namen alle Ehre wenn sie hier nahtlos von einer Stimmung zur nächsten wechseln.   Mittig greift man das Startthema noch einmal auf, was den experimentellen Charakter des Stückes weiter unterstreicht. Gegen Ende kommt hier einmal eine laute Welle voller Melodie und Solistik angeschwappt, bevor es ohne Atempause auf „Psychonautic Odyssey“ geht. Auch ein sehr schönes und düsteres Stück, in das sich eine Hammond-Orgel eingeschlichen hat. Diese Jungs müssen wohl mit einem LKW touren. Die Blastbeats gegen Ende wummern wunderbar durch, ohne dabei irgendwie verquer zu erscheinen. Bestimmt auch mit ein Verdienst von Herrn Kvalsvoll, denn gleiches konnte man schon bei 1349 bemerken.   Für „Grand Narcotic Harvest“ hat man sich V’gandr von Helheim geholt, der hier allerdings kaum zu bemerken ist, zumindest unterscheidet sich sein Gesang nicht großartig von dem Astrous’.   Während die nächsten Songs so vor sich hin plätschern kommt mit „Necroscope“ schon am Anfang ein derart gutes Gitarrenriff, das sich sofort in den Gehörgang fräst. Melodiewechsel im Mittelteil und ein wunderbar ausgefeilter Schluss machen diesen Song zu meinem Favoriten auf dieser Scheibe. Abgesehen von unkonventionellen Instrumenten hat dieser Song alles was Aenaon ausmacht.   „Kraanerg“ hat ebenfalls etwas Eigenes. Offenbar war der Trommler früher im Spielmannszug, was man hier an Snare-Wirbeln hört ist von höchster Qualität. Zusammen mit den bedrohlichen Gitarren wirkt dieser Teil am Besten, wogegen der restliche Song leider abermals in den Einheitsbrei aus Geschredder und Blastbeats abzurutschen droht. Die gute Produktion macht hier aber schon einiges wett, mehrstimmige Gitarrenläufe kann man hier und sollte man auch hören.   Für „Black Nerve“ greift man hier noch einmal auf’s Saxophon zurück, das wieder bemerkenswert gut einfügt. Es zieht damit auch den Bogen um die Eigenkompositionen der Band, nach einem äußerst verzerrten Herzmonitor, der immer hektischer wird, gibt es mit „In Heaven“ ein Cover aus David Lynch’s Eraserhead. Hier ist der Stilbruch wohl am Krassesten – auf ein altes Klavier mit Damengesang kontert hier eine wuchtige Riffwalze. Die flaut allerdings bald schon wieder zu Gunsten des Klaviers auf Null ab. Dieses Stück steht damit zwar im starken Gegensatz zu den sonst so gut verwobenen Songs der Band, hat aber durchaus seinen Charme.   Fazit: Ein Album das die Kategorie Avantgarde Black Metal sehr wohl verdient hat! Aenaon haben sich nicht gescheut, unkonventionelle Instrumente und Arrangements auszuprobieren und wurden dafür mit wunderbarer Musik belohnt. Einziges Manko sind die teilweise sehr gleichartig klingenden Mischungen aus Geschrei, Geschredder und Geblaste. An diesen wird die Band aber in Zukunft noch feilen, sodass man gespannt auf’s nächste Album sein kann. Frischer Wind aus Griechenland ist auf jeden Fall vorhanden, aber Vorsicht: Diese Brise hat es in sich!   Anspieltipps: Suncord; Necroscope

by Spjelke_Ulv


Devilhorns Webzine (Gr) 98/100 - 06/06/2011

Category Album Reviews
Country: Greece
Record Label: Code 666
Style/Genre: Black Metal
Release Date June 2011
Editor Sofia Charalampous
Rating 98 / 100

Οι Aenaon μετά τις 2 επιτυχημένες EP κυκλοφορίες τους κι ύστερα από αρκετά χρόνια, κυκλοφορούν την πρώτη ολοκληρωμένη δισκογραφική τους δουλειά, η οποία έρχεται να ταράξει τα νερά στην ελληνική σκηνή και να αποδείξει ότι άξιζε και με το παραπάνω η αναμονή. Μέσα σε 10 συνθέσεις συνολικής διάρκειας 53 λεπτών, το συγκρότημα εντυπωσιάζει από τα πρώτα κιόλας δευτερόλεπτα του intro του “Kafkaesque”.

Όσο κι αν το σαξόφωνο στην αρχή με έβαλε να σκεφτώ τους Ihsahn, σύντομα αυτή η σκέψη έσβησε κι αντικαταστάθηκε από θαυμασμό, για έναν δίσκο πραγματικό αριστούργημα. Δεν έχει νόημα να μιλήσω για επιρροές, καθώς όλοι οι καλλιτέχνες έχουν τις επιρροές τους, οι Aenaon όμως καταφέρνουν να βρουν έναν δικό τους δρόμο στη μουσική κι ακολουθούν τα ένστικτά τους δημιουργώντας κάτι που εγώ προσωπικά, δεν περίμενα ποτέ να ακούσω από ελληνική black metal μπάντα!

Οι μελωδίες τους είναι αμέτρητες και όλες ξεχωριστές κι απολαυστικές. Η πολυπλοκότητα των ενορχηστρώσεών τους δημιουργεί μια τόσο ιδιαίτερη ατμόσφαιρα που σε καταβάλει και καταφέρνει να σε κρατήσει μέχρι το τέλος. Πολλά και πλούσια riffs στις κιθάρες, ωραία και ουσιαστικά solos, σκοτεινές ατμόσφαιρες και φωνητικά όλων των ειδών.

Συνδυάζουν εκπληκτικά το ύφος του old-school epic black metal, με μοντέρνα στοιχεία και το πιο σημαντικό… όσο προχωράει το tracklist κι εσύ σκέφτεσαι “Μα πόσο καλύτερο μπορεί να γίνει?”, οι Aenaon με ένα μαγικό τρόπο αποδεικνύουν ότι μπορούν και καλύτερα! Κάπως έτσι κολλάς με το δισκάκι και ύστερα από μέρες συνειδητοποιείς ότι ακούς τον ίδιο δίσκο ξανά και ξανά! Χωρίς υπερβολή το “Cendres et Sang” είναι η καλύτερη black metal κυκλοφορία που βγήκε ποτέ από ελληνικό συγκρότημα. Οι Aenaon αξίζουν αναγνώρισης κι είμαι σίγουρη πως θα την κατακτήσουν σύντομα. Αγοράστε το. Απλά.

Category Album Reviews
Country: Greece
Record Label: Code 666
Style/Genre: Black Metal
Release Date June 2011
Editor Sofia Charalampous
Rating 98 / 100

After 2 successful EP releases and after several years, Aenaon's first full length album comes to blow like a bomb into the greek metal scene and prove that the waiting period was not in vain. 10 tracks with a total duration of 53 minutes and the band strikes from the first few seconds of the intro "Kafkasque".  Even though the saxophone at the beginning made me think of Ihsahn, that thought quickly faded away and was replaced by admiration for a true masterpiece. It makes no sense to talk about influences as all artists have their influences but Aenaon managed to find their own path in music and follow their instincts, creating something that I personally didn't ever except to hear from a greek black metal band!   The melodies are endless, special and enjoyable. The complexity of the orchestrations is creating such special atmosphere that manages to keep your attention until the end. Many rich guitar riffs, nice and meaningful solos, dark atmospheres and vocals of all styles.   Aenaon combine stunningly old school and epic black metal with modern elements and more importantly… as you listen to the album you'll start wondering "how much better can be done?" Magically Aenaon prove that they can do even better! This is how after a lot of days you come to realize that you have already listened to this album over and over again. Without exaggeration "Cendres et Sang" is one of the best greek black metal releases. Aenaon deserve recognition and I am sure they will find it soon. Buy it. Simple.   Editor Sofia Charalampous


Rock Overdose (Gr) - 05/06/2011

Οι Έλληνες Avantgarde Aenaon μετά από σχεδόν έναν χρόνο προετοιμασίας έχουν έτοιμο το πρώτο full length album τους το οποίο θα κυκλοφορήσει τον Ιούνιο του 2011 και φέρει τον τίτλο “Cendres et Sang” το οποίο στα αγγλικά μεταφράζεται σαν “Ashes and Blood” . Το album κυκλοφόρησε από την Code666, οι ηχογραφήσεις έλαβαν χώρα σε περισσότερα από πέντε studios, το mastering ανέλαβε ο Tom Kvalsvoll στα Strype Audio στη Νορβηγία και για το artwork υπεύθυνος είναι ο Πολωνός Lukasz Wodynski.

Το album περιέχει δέκα κομμάτια όπου το τελευταίο που κλείνει και το άλμπουμ είναι μια διασκευή από την ταινία “Eraserhead” του David Lynch. Έχουμε να κάνουμε με ένα black metal album γύρω από τη ζωή και τον θάνατο επηρεασμένο και από death μελωδίες αλλά και μπόλικη δόση από ατμόσφαιρα. Άψογη εναλλαγή brutal και clean φωνητικών που σε συνδυασμό με τις κιθάρες οι οποίες ξεπερνούν τον εαυτό τους στο σύνολο έχουμε ένα παραπάνω από ικανοποιητικό αποτέλεσμα. Σημαντικός και ο ρόλος του πιάνου στα ατμοσφαιρικά σημεία που προανέφερα και γενικά δε ξέρω τι να πρώτο επισημάνω. Καλοπαιγμένο, καλογραμμένο και με μια πολύ καλή παραγωγή.

Είναι ένα άλμπουμ που αν το δούμε από συνθετικής πλευράς άνετα θα μπορούσε να προσελκύσει και κόσμο που δεν ανήκει στην πλευρά του Black metal. Να σταθώ επίσης ονομαστικά στις guest εμφανίσεις που λαμβάνουν μέρος σε αυτόν τον δίσκο γιατί θεωρώ ότι και ο ρόλος τους ήταν αρκετά σημαντικός:

Ørjan “V'gandr” Nordvik - vocals (Helheim, Aeternus)
Thomais Chatzigianni - vocals (Dakrya)
Vasilis Agiomyrgianakis - grand piano
Christos Agouridakis - alto & tenor saxophone (Orchestra Sonora)
Pantelis Kalogiros - additional piano (Disolvo Animus)

Σε γενικές γραμμές είναι ένα άλμπουμ που σίγουρα περιλαμβάνεται στα καλύτερα του είδους που άκουσα τελευταία. Το προτείνω ανεπιφύλακτα. Το να ευχηθώ «καλή επιτυχία» το θεωρώ περιττό… Την έχουν στο τσεπάκι!

for Vivi Jd

Almost after a year of preparations greek avantgarde act Aenaon are releasing their first full length album that will be released in june 2011 and is entitled “Cendres et Sang”, in English means “Ashes and Blood”. The label which is releasing the album is Code666. Recorded in 5 different studios, mastered by Tom Kvasvoll, Strype Audio, Norway and the illustrations are from Polish artist, Lukazs Wodinsky.

The album contains 10 tracks and the last one is a cover based on David Lynch’s “Eraserhead” movie soundtrack. It’s a black metal album lyrically about life and death also based musically in death metal melodies and a lot of atmosphere. The changes between clean and brutal vocals are outstanding and combined with the guitars that are amazing you have a more than satisfying result. The Piano is playing an important role making the atmosphere and generally I mustadmit I am stunt. Well played, good written with a very good production.

An album that synthetically could attract funs from other music scenes too. I should also mention some of the guest appearances of the album because I believe their role is important: Ørjan “V'gandr” Nordvik - vocals (Helheim, Aeternus) Thomais Chatzigianni - vocals (Dakrya) Vasilis Agiomyrgianakis - grand piano Christos Agouridakis - alto & tenor saxophone (Orchestra Sonora) Pantelis Kalogiros - additional piano (Disolvo Animus) In general it’s one of the best albums of its kind I listened lately. I strongly suggest it. Wishing good luck to Aenaon is not a neccecity… it’s sure they’ll have it!

for Vivi Jd


Music Reviews (De) - 06/03/2011

Wer Black Metal abseits der ausgelatschten Genrepfade bevorzugt, wird immer wieder beim italienischen Label code666 fündig. Ein neues, vielversprechendes Signing sind AENAON aus Griechenland, die mit ihrem ersten Album "Cendres Et Sang" (zu deutsch "Asche und Blut") eine gelungene musikalische Visitenkarte abgeben. Progressiver, teils avantgardistischer Black Metal ist die Spielwiese, auf der AENAON sich austoben. Dabei halten sich Harmonisches und Disharmonisches ebenso die Waage, wie straighte Raserei und komplexere Rhythmen und Arrangements. Glücklicherweise verlieren sich die Griechen nicht in unübersichtlichen und nicht nachvollziehbaren Strukturen, sondern haben stets den Song im Auge - wenngleich sich die Hooklines, die sich ins Gedächtnis fräsen, weder auf den ersten, noch auf den zweiten Blick offenbaren. Hier gibt es sicherlich noch Verbesserungsmöglichkeiten, die vor allem dem Zweck dienen sollten, die Songs besser voneinander abzugrenzen und ihnen jeweils noch einen stärkeren eigenen Charakter zu geben.   Gut gelingt das wiederum schon bei Songs wie "Grand Narcotic Harvest", bei dem der Refrain vergleichsweise eingängig daher kommt. Die verstärkten melodischen Elemente in "Once Finite" und besonders in "Necroscope" (hier sind die Harmonien von klassischem Heavy Metal abgeleitet) und "Black Nerve" wissen ebenfalls gut zu gefallen. Quantitativ ausbaufähig sind dagegen unorthodoxere Elemente wie das hin und wieder eingesetzte Saxophon und auch der Klargesang darf ruhig stärker akzentuiert werden, hier sollte man sich bedenkenlos ENSLAVED zum Vorbild nehmen. Die hintergründig eingesetzten Keyboards erfüllen ihren Zweck gut und weitere Farbtupfer setzt gelegentlicher Damengesang. Das Keifgeschrei von Astrous wiederum kann ruhig variabler gestaltet werden und ist bis dato noch etwas zu beliebig.   Aufgenommen wurde "Cendres Et Sang" in fünf (!) verschiedenen Studios, gemastert wurde mit Tom Kvalsvoll von jemandem, der durch seine Arbeit mit EMPEROR, 1349, IHSAHN und KEEP OF KALESSIN über genug Erfahrung verfügen sollte, was guten Sound angeht. Trotzdem enttäuscht das Album in der Hinsicht ein bisschen, denn die Produktion ist insgesamt nicht klar genug und etwas zu verwaschen und bei eher basslastigeren Equalizer-Einstellungen kratzen die Gitarren, was auf eine leichte Übersteuerung hindeutet. Den positiven Gesamteindruck schmählert das zwar nur ein bisschen, kostet aber letztlich einen Punkt.   FAZIT: AENAON sind eine Band für Anhänger von anspruchsvolleren Extrem-Sounds und überzeugen auf ihrem Album mit gutem Handwerk und weitestgehend stimmigem Songwriting. Defizite in Sachen Sound und Nachhaltigkeit sind verschmerzbar, sollten aber in Zukunft angegangen werden.

Andreas Schulz


Obscura Webzine (It) - 06/02/2011

Quoting the info sheet by the label itself, Aenaon play a sort of visionary black metal which is also perfectly blended with Jazz. This is not anything new nor original, since may other bands have tried this solutions in the past, but honestly only a few of them have accomplished in getting it done the proper way. Hailing from Greece, Aenaon released ‘Cendres Et Sang’ (french for Ash & Blood) as their second full-length album and the first for italian label Code666. Since it’s pretty unlikely that operations like that generate easy listening albums, I’ve approached the listening to this album in a very cautious way. Honestly this has not been an easy task, because songs do not follow the usual patterns of classic black metal tunes, instead here everything is allowed, a total stream of black and jazz-ish parts come together.   In the end it’s been a very pleasant operation, since this album is very enjoyable by whoever is tired of old, over-satured, poor black metal songs and prefers looking for something more innovative. In this case Aenaon is a band that can fit your tastes.

by Gabriele Frontini


Dark Festivals (De) 7/10 - 05/02/2011

Die griechische Black-Metal-Band Aenaon ist schon seit Mitte des vergangenen Jahrzehnts aktiv, hat sich mit ihrem Debütalbum aber bislang Zeit gelassen. Am 13. Juni ist es nun aber soweit und die Gruppe stellt ihr erstes Album vor. Es trägt den Titel "Cendres et Sang" (zu Deutsch: "Asche und Blut"). Wie es geworden ist und was Aenaon mit Jazz am Hut haben erfahrt ihr in dieser Rezension.   "Cendres et Sang" enthält zehn Lieder mit einer Gesamtspielzeit von 53 Minuten. Geboten wird kraftvoller Black Metal sowohl im Down- als auch im Hightempo.   Neben vielen Passagen, die sicher gut gespielt sind, die man so oder so ähnlich aber auch auf jedem anderen Black-Metal-Album finden könnte, gibt es auf "Cendres et Sang" auch einige sehr markante Momente. Gelegentlich setzen die Griechen nämlich tatsächlich ein Saxophon ein. So beginnt das Stück "Suncorn" zum Beispiel mit gemächlichen Jazz-Klängen und auch "Black Nerve" kommt der Bläser zum Einsatz.   Die Saxophon-Einwürfe sind ebenso gut wie markant. Ihre leichten Jazz-Anleihen fügen Aenaon wirklich gelungen in das ansonsten harsche Klangbild ein. Leider kommt diese Besonderheit aber nur in äußerst geringem Umfang zum Einsatz, sodass sie sich für "Cendres et Sang" nicht als sonderlich prägend erweist. Den Einsatz des Saxophons könnten Aenaon ruhig weiter ausbauen und sich auf diese Weise eine charakteristische Nische erschaffen.   Da sie das bislang aber noch nicht tun, klingt "Cendres et Sang" zeitweise wenig überraschend. So bemühen sich Aenaon größtenteils auf recht herkömmliche Weise für Abwechslung zu sorgen. Gut gelingt dies vor allem mit einigen wirklich beachtlichen Gitarrensoli, diese kommen wie auch die Saxophon-Einwürfe allerdings recht selten vor.   Die übrige Zeit begnügen sich die Griechen daher mit Tempi- und Stimmungswechseln. Vor allem bei jenen Liedern die weder die stilistischen Besonderheiten des Saxophons, noch die spielerischen Besonderheiten der Gitarrensoli aufweisen, reicht das allein manchmal nicht aus um "Cendres et Sang" von vergleichbaren Platten abzuheben.   Wenn es Aenaon in Zukunft jedoch gelingt, das Niveau ihrer besseren Momente durchgehend zu halten, dann hören wir von dieser Band bestimmt nicht zum letzten Mal.   Fazit   Auch wenn der Stil von Aenaon noch nicht ganz ausgereift ist, können sich Black-Metal-Fans "Cendres et Sang" ruhig mal zu Gemüte führen.   Punkte: 7/10


Aristocrazia Webzine (It) - 24/01/2011

Capita alle volte che le band facciano il passo più lungo della propria gamba, capita quando si hanno le potenzialità e le qualità per realizzare un gran disco e poi ci si perda magari nel cervellotico o contrariamente nel voler calcare la mano sui toni aggressivi, è questo il caso dei greci Aenaon. La Code666 ha l'occhio lungo e metterli sotto contratto è stata mossa alquanto indovinata, del resto dal 2007 ad oggi la formazione di gavetta ne ha fatta e da essa son venuti fuori un "Demo" (2007), l'ep "Phenomenon" (2009) e lo split "A Parallel Zoetrope" in compagnia dei romeni Satanochio (2010), era giunto il momento di dare un senso a tanto lavoro confluendo il potenziale sinora espresso all'interno di un full-lenght, l'occasione è giunta quest'anno con l'uscita di "Cendres Et Sang".   Il black metal di cui sono portatori è tutt'altro che canonico, le derive avanguardistiche, le varianti jazzate che volentieri vengono applicate e che provano a far sfociare il sound in direzione consona a realtà quali DHG e Arcturus, la fredda schiettezza aggressiva e il flavour di alcune soluzioni che ricordano l'Ihsahn degli ultimi Emperor e dei suoi progetti solisti e le venature che affluiscono in maniera naturale dai suoni della madre terra Grecia, similarmente accomunabili a band quali Septic Flesh e Rotting Christ, potrebbero bastare a fornire un curriculum di tutto rispetto, peccato che la lunga durata del platter e una incostanza nel mantenere il range qualitativo su di un livello d'eccellenza li penalizzi.   Abbiamo a che fare con un album dotato di almeno tre o quattro pezzi davvero spettacolari ("Suncord", "Psychotic Odyssey", "Once Infinite" e "Black Nerve") che coniugano nel migliore dei modi le capacità compositive del combo negli attimi in cui tendono al progressivo, nei ricami chitarristici solistici, nell'uso dei synth e nel mostrare una energia dirompente grazie anche all'ottima prova di Panos dietro il microfono riscontrabile in "Suncord".   Vi sono poi un altro paio di episodi gradevoli ma nulla più ("Grand Narcotic Harvest" e "Necroscope"), due filler ("Carnivora's Lair" e "Kraanerg") poco lucide ed efficaci e altrettanti brani che andrebbero considerati a parte dato che l'intro "Kafkaesque" pur essendo breve è perfetta per innescare la miccia atmosferica con un'entrata jazzy che è un vero e proprio assist per la canzone che le succederà, mentre la conclusiva "In Haven", rivisitazione della traccia contenuta nella pellicola di David Lynch "Eraserhead", per quanto pretenziosa e ammiccante a un intellettualismo di nicchia, risulta pregevole e interessante seppur sia una bella macchia di colore quasi del tutto fuori contesto.   "Cendres Et Sang" è prodotto in maniera favolosa, strumentalmente ed esecutivamente organizzato ma proprio questa organizzazione è una delle pecche di un platter che porta in più di un'occasione la mente altrove.   Gli Aenaon sono bravi e avranno sicuramente la possibilità di trovare il modo di far quadrare il loro cerchio, mi sento comunque di consigliare una release simile a coloro che hanno una sviscerata passione per l'ambito black non legato ai canoni old school, troveranno di sicuro pane per i propri denti e perché no, l'acquisto non è da escludere e di sicuro non lo escludo io.

Autore: Mourning


Lords of Metal (Nl) 85/100 - 06/01/2011

Aenaon is a Greek avant-garde black metal band that has landed a deal with Code666 who arguably are the leading label for “weird” metal. Their debut full-length ‘Cendres Et Sang’ is a rather schizophrenic affair. The band plays around with styles and moods quite a bit. For instance: the crushing black metal is sometimes intervened by pure jazz-segments. Saxophone included. The band pulls it off without sounding contrived or pretentious. The black metal segments reminded me of Code and sometimes recent Shining. The songs themselves are complex but catchy and simultaneously quite aggressive. Intensity levels are high throughout the album, this is pretty heavy but also groovy stuff, also due the excellent production. The records biggest strength is the way the great diversity and experimentalism never compromises the flow of the music. ‘Cendres Et Sang’ is an original, innovative black metal album and it promises a bright future for this band. Highly recommended.

by Roel de Haan


Pavillon666 (Fr) 8.5/10 - 06/01/2011

Du gris et du rouge… telles sont les principales couleurs de l’album, d’abord dépeintes à travers le titre poétique et français de l’album, et ensuite apposées toute en délicatesse et finesse sur une pochette gracieuse, dessinée par le polonais Lukasz Wodynski. Ce corps que nous pouvons voir est censé illustré les principales thématiques d’un album nouveau et original de Black Metal. Non seulement il représente l’humain en lui-même, mais il est aussi le reflet d’un être bouleversé dont nous parcourons le labyrinthe de son désordre psychologique, ainsi que les différentes formes de vie et de mort… Aenaon, aussi étrange qu’il soit, est une formation grecque formée en 2005 et auteur de déjà quelques albums, lui ayant apporté un public certain. Mais Aenaon ne se contente pas d’œuvrer dans un Black Metal où l’esprit et le corps humain sont de la partie. Le combo se rend avant-gardiste en imposant son style, sa façon de concocter des morceaux, et de s’extirper de la vague traditionnelle Black Metal.   Ainsi, même si l’ensemble de ce « Cendres et Sang » montre de belles facettes typiquement dans l’esprit Black Metal, à savoir des riffs représentatifs et un chant caractéristique, torturé et puissant, Aenaon diversifie les influences. De ce fait, même si on retrouve quelques relents Death, et certains électroniques voire symphoniques, nous pouvons retrouver deux autres styles insolites à l’intérieur de cet ensemble brutal mais harmonique : le jazz et le blues. Etonnant qui plus est, d’autant plus que ces parties sont extrêmement bien incorporées aux morceaux. A la manière du titre introducteur et de sa suite directe, à savoir « Kafkaesque » et « Suncord », ou encore de « Black Nerve », les passages Black s’alternent avec des passages jazz où le saxophone, les rythmiques et la basse ont le premier rôle. Cette dernière, telle une contrebasse, nous joue des airs totalement dans le bain, et nous voilà repartis quelques dizaines d’années en arrière. Mais le retour à la réalité s’opère dès l’arrivée des riffs Black à la limite de l’aérien.   Car outre les parties jazz, il est clair que le Black d’Aenaon est assez atmosphérique, les grecs misant avant tout sur les ambiances et les parties légères. Le chant Black peut s’alterner avec un chant clair plaintif et aérien (« Necroscope »), les riffs ont là la première place, les guitaristes concoctant des mélodies astrales et ténébreuses. Toutefois certaines se veulent plus dérangeantes, plus barrées, sous couvert de mélodies Black traditionnelles. Ainsi, il n’est souvent pas étonnant de se retrouver avec des titres plus proches de Dimmu Borgir, d’Arcturus ou encore Emperor…   Ces quelques exemples ne nous étonnent pas à la vue de la production soignée et du mastering signé Tom Kvalsoll aux studios Stype Audi en Norvège, l’homme étant célèbre pour ses collaborations avec 1349, Emperor ou Ihsahn…   Il aura fallu une bonne année à Aenaon pour nous fabriquer ce « Cendres et Sang » expérimental et mélancolique. Signé chez Code666, le label du Black et de l’expérimental, les grecs nous livrent certainement leur meilleur opus, terriblement mature et imposant dans sa forme. Une œuvre que même les détracteurs du Black pourraient apprécier.   ORIGINALITE TECHNIQUE PRODUCTION EMOTION

Chroniqueur : Matai  


Greek Rebels (Gr) 8/10 - 06/01/2011

Προερχόμενοι από την κεντρική Ελλάδα οι Thyragon και Draugen αποφάσισαν το 2005 να δημιουργήσουν τους Aenaon, μια μπάντα με black metal ύφος, πειραματικό χαρακτήρα και death metal επιρροές. Μετά από ένα Demo, ένα Split και ένα EP μας παρουσιάζουν το επερχόμενο και πρώτο ολοκληρωμένο άλμπουμ τους. Σόλο σαξόφωνο για εισαγωγή και μπαίνουμε σε ένα πολύ μυστήριο κλίμα. Δεν αργούν να μας δείξουν ότι αυτό που ακούμε είναι Black Metal, έχοντας μια Dodheimsgard, της Supervillain εποχής, αύρα θα έλεγα διότι κάποια riffs καθώς και κάποια φωνητικά μαζί με τις απαγγελίες μου θυμίζουν τον απίστευτο Kvohst. Δεν υπάρχουν τρομερές αλλαγές στους ρυθμούς απλά υπάρχουν εκεί που πρέπει όπως πρέπει! Το ύφος σε όλο το άλμπουμ είναι αρκετά μελωδικό, σκοτεινό ώστε μεταλλάσσεται σε πιο βίαιο όταν το τέμπο γίνεται πιο death metal-ίζων. Πάρα πολύ δεμένο υλικό, με συνθέσεις που σε συνεπαίρνουν και δεν νομίζω ότι υπάρχει κάποιος σε αυτόν τον χώρο που δεν θα το θαυμάσει αυτό το δημιούργημα. Ξεχώρισα τα “Suncord”, “Grand Narcotic Harvest (feat V’gandr of Helheim)”, “Once Finite”, “Necroscope”, “Kraanerg” και το απίστευτο “In Heaven” που τραγουδάει και κάποια γυναίκα την οποία δεν γνωρίζουμε ακόμα και το οποίο κομμάτι είναι διασκευή από την ταινία του David Lynch, Eraserhead. Αναμφίβολα αγοράστε το.


Χρήστος Τσίτσης


Atmospheric (Pl) 5/6 - 05/01/2011

Płyta AENAON, „Cendres et Sang”, została wydana przez Code666. Dla nas istotny jest fakt, iż nasz rodak, Łukasz Wołyński, stworzył okładkę do tego awangardowego dzieła. Parę słów na temat AENAON dla tych, którzy pierwszy raz słyszą tą nazwę. Pochodzą z Grecji, zaczęli razem grać w roku 2005. Przed wydaniem tego albumu wydali dwie EPki: „Phenomenon” oraz „A Parallel Zoetrope”. Płyta „Candres et Sang” zaczyna się jakże cudownym intrem o nazwie „Kafkaesque”, przypomina mi ona trochę Amerykę i wczesne lata wieku XX. Kolejnie następuje „Suncord” nawiązujący do wstępu, a potem to już pierwsze ciężkie brzmienia. Bardzo mi się podoba, że wokalista nie tylko śpiewa partie black metalowe, ale również czyste wysokie i niskie dźwięki. Kolejny utwór to „Psychonautic Odyssey” i rzeczywiście słuchając tej płyty nie myślisz: „praca, dom, rodzina etc.”, ale jesteś w psychicznej Odysei, gdzie nic się nie liczy. A utwór jest bardzo dobry i przemyślany. Bardzo podoba mi się gra perkusisty, słychać szybkość, blasty i to, że jest bardzo dobrze wyszkolony technicznie. Ciąg dalszy naszej podróży w głąb świadomości, gdzie panuje ciemność i AENAON. „Grand Narcotic Harvest” jest bardzo skandynawski. Tak właśnie myślę, może to dlatego, że album został nagrywany Strype Audio w Norwegi. Utwór jest bardzo dobry i choć trwa ponad 4 minuty, szkoda mi, że nastał koniec mojego narkotyzowania się muzyką Greków. „Once Finite” jest bardzo melodyjny, najbardziej z całego albumu, chciałbym napisać, że weselszy, ale to chyba byłaby herezja nie do przyjęcia. Ale serio, moje ucho tak go słyszy. Nie wiem, może dlatego, że po przesłuchaniu czterech numerów jestem w stanie wskazującym na spożycie jakiegoś środka odurzającego w postaci „Cendres et Sang”. „Carniviora`s Lair” to zdecydowanie mój faworyt na tytuł killera płyty. Uwielbiam partie „przegadane”, numer jest bardzo różny, nikt nie jest w stanie go określić. Łączy w sobie to wszystko, co dawały nam poprzednie utwory. Jest taką najsilniejszą dawką narkotyku. Następny utwór też jest bardzo dobry, nazwano go „Necroscope”, bardzo przypomina mi utwory z „Now, Diabolical” z dorobku grupy SATYRICON. „Kraanerg” bardzo szybko się zaczyna, ale po swoich dwóch poprzednikach wypada dość słabo. Choć oczywiście na pewno jest dobrym utworem, to rzeczywiście został zagłuszony przez „Carniviora`s Lair” oraz „Necroscope”. Czas na „Black Nerve”, ten utwór jest sfinalizowaniem podróży do naszego wnętrza. Jest brutalnie, wciągająco, ale zarazem daje znać, że to koniec naszej wycieczki. Na zakończenie dostajemy miłą niespodziankę od zespołu, na powrót do rzeczywistości. Jest nią utwór z filmu „Eraserhead” reżyserowanego przez Davida Lyncha. Jest to bardzo udany cover, nie wiem, jak się nazywa kobieta, która śpiewa partie damskie, ale ma bardzo ujmujący głos. A w połączeniu z wokalem black metalowym brzmi to idealnie. To by było na tyle. Chciałbym podziękować AENAON za wspólną podróż i życzyć, aby każdy, kto sięga po płytę „Candres et Sang”, czuł się podobnie.


AENAON plate, "Cendres et Sang" was released by Code666. For us, important is the fact that our compatriot, ?ukasz Wodynski, created the artwork for this avant-garde work. A few words about AENAON, for those who first hear the name. They come from Greece, they started playing together in 2005. Prior to this album, they released two EPs: "Phenomenon" and "A Parallel Zoetrope." The album "Sang et Candres" begins with how wonderful intro called "Kafkaesque," she reminds me America and the early years of the twentieth century. Following more follows "Suncord" refers to the point, and then it's the first serious tone. I really like that the singer not only sings black metal, but also clean, high and low sounds. The next track is "Psychonautic Odyssey" and actually listening to this CD does not think "work, home, family, etc.." But you're in the mental Odyssey, where nothing matters. And the song is very good and thoughtful. I really like playing drums, going fast, and blasts that are very well trained technically. Continued our journey into the depths of consciousness where there is darkness and AENAON. "Narcotic Grand Harvest" is a very Scandinavian. That's what I think, maybe it's because the album was recorded in Norway Strypa Audio. The song is very good and although it takes more than 4 minutes, I am sorry that it came the end of my narkotyzowania the music of the Greeks. "Once Finite" is very melodic, most of the entire album, I would write that cheerful, but I think it would be heresy not to adoption. But seriously, my ear hears it anyway. I do not know, maybe because after listening to four numbers, I'm in a state indicating the consumption of any narcotic drug in the form of "Cendres et Sang". "Carniviora` s Lair "is definitely my favorite for the title killer album. I love lots of "wordy", the number is very different, no one is able to determine. It combines everything that gave us the previous tracks. It is the strongest dose of this drug. The next track is also very good, called the "Necroscope" I very much like songs from "Now, Diabolical" the achievements of the group SATYRICON. "Kraanerg" very fast start, but after his two predecessors, falls quite poorly. Though of course it is certainly a good song, it really was overshadowed by the "Carniviora` s Lair "and" Necroscope ". Time for "Black Nerve," this song is finalizing our trip to the interior. It is brutal, wci?gaj?co, but also gives you know that this is the end of our trip. At the end we get a nice surprise from the team back to reality. It is the song from the movie "Eraserhead" directed by David Lynch. This is a very good cover, I do not know what it's called a woman who sings for women, but has a very endearing voice. A combination of black metal vocals sound perfectly. That would be enough. I would like to thank AENAON for the common journey, and hoped that anyone who reaches for the album "Candres et Sang", felt similarly.



Magic Fire Music (Fr) 19/20 - 05/01/2011

Ah, la Grèce. Magnifique pays qui nous a livré d’excellents groupes. Rotting Christ, Septicflesh... et maintenant, Aenaon ! Parce qu’après deux excellents EP, Aenaon ne pouvait nous livrer qu’un chef d’œuvre. Et ils l’ont fait, cent fois. Le combo utilise avec intelligences une multitudes d’éléments qui n’ont rien à voir avec le black metal : saxophone, voix féminines, rythmiques jazz,…le tout servit par des riffs dévastateurs et une voix puissante. Et ça marche ! Le groupe se place parmi ce mouvement de groupe de black qui en ont eu marre de ces hypocrites jouant dans leur cave une musique inaudible, et se sont décidé à intégrer des éléments novateurs. Et c’est grâce à eux que le black metal tend vers une musique que je qualifierai de « grande ». Car à l’écoute de  « Kafkaesque » ou encore  « Suncord», il est indéniable que la musique d’Aenaon est barrée, complexe, psychédélique, jazz, puissante, dévastatrice.  De plus, le groupe réussit l’exploit d’être cohérent dans sa démarche, car tous ces éléments, pourtant si différents, ne servent qu’en fait le concept de l’album : la folie de l’être humain. Et pour être fou, cet album l’est totalement ! Mais une folie maîtrisée, créatrice, inventive, un asile superbement interprété.  Les morceaux de Cendres et Sang dépassent en général les cinq minutes, ce qui laisse globalement le temps à chaque compositions d’imposer son univers et de le développer bien au-delà de nos espérances.  On passe d’une folie pure (« Psychonautic Odyssey») à quelque chose qui tend vers la démence artistique (l’étrange et hypnotisant « Black Nerve» ) pour finir sur le sublime« In Heaven» et sa voix féminine enchanteresse. En 10 titres, Aenaon impose clairement un style, un univers dans un très bel album alliant sensibilité, folie et puissance. Cendres et Sang se consume, nous brûle de l’intérieur et le fait de reprendre un thème de David Lynch n’est pas une surprise. La musique d’Aenaon est à l’image des films du réalisateur : folle, troublante, hypnotique et intelligente.

Par Oraku

Review (De) 8/10 - 01/01/2011

Für Freunde schwarzmetallischer Klänge fernab des gewohnten Sounds ist Code666 längst kein Geheimtipp mehr. Durch Bands wie BLUTMOND, FEN und TODTGELICHTER hat das Label sein Gespür für extravagante Black Metal Bands längst unter Beweis gestellt. Somit ist es nicht verwunderlich, dass die Schwarzmetaller von AENAON, welche bereits 2009 mit ihrer EP “Phenomenon” für Aufsehen sorgten, bei Code666 gelandet sind. Mit ihrem neuen Album “Cendres et Sang” (dt.: “Asche und Blut”) feiern die vier Griechen somit nicht nur ihr Debüt auf einem neuen Label, sondern veröffentlichen ihr erstes Full-Length-Album in der seit 2005 voranschreitenden Bandgeschichte. Wie man es von Code666 gewohnt ist, wird kein plumper Standard Black Metal geboten. AENAON interpretieren den skandinavischen Schwarzmetall der Neunziger auf ihre eigene Weise, was neben progressiv angehauchtem, melodischem Riffing auch zum Einsatz eines Saxophons führt. Dieses leitet das Album im Intro “Kafkaesque” auf jazzige Weise ein. Wer hierbei sofort an das jüngste Album der Labelkollegen von BLUTMOND (“Thirteen Urban Ways 4 Groovy Bohemian Days”) denkt, liegt damit nicht gänzlich falsch. Jedoch sind AENAON in der erzeugten Atmosphäre deutlich nordischer geprägt und lassen den urbanen Charakter, den die Schweizer präsentieren, seltener durchscheinen. Das Augenmerk von “Cendres et Sang” ist verstärkt auf eine introvertierte, düstere und wütende Atmosphäre gerichtet. Dies äußert sich zum einen in schnelleren Passagen erster Güte (bspw. “Psychonautic Odyssey”) und zum anderen in komplexen, progressiven Arrangements, die sich wie ein roter Faden durch das Album ziehen. Dabei bewegen AENAON sich in einem erträglichen Rahmen, was dafür sorgt, dass man den Songs gezielt folgen kann, ohne irgendwo von zu vertrackten und nicht nachvollziehbaren Songstrukturen abgehängt zu werden. Fehlen tut es “Cendres et Sang” dafür an prägnanten Riffs. Zwar verdeutlichen die vier Griechen, dass sie ihre Instrumente beherrschen und so wird die ganze Palette von “sägend” über “verspielt” bis hin zu “vertrackt” abgedeckt. Jedoch klingen die Riffs mit der Zeit aufgrund mangelnder griffiger Melodien zu ähnlich, was dafür sorgt, dass nur wenige Leads im Kopf haften bleiben. Auch fallen die Songs, die den Mittelteil des Albums bilden (“Once Finite” und “Carnivora's Lair”), etwas ab.   Da sind es eher andere Merkmale, die sich ins Gedächtnis brennen. Sei es das bereits erwähnte Saxophon (“Suncord”, “Black Nerve”), der Klargesang von Sänger Astrous (“Grand Narcotic Harvest”) oder der in “In Heaven” einsetzende Frauengesang. Über letzteren kann man sich durchaus streiten, mein Fall ist er nicht. Mir ist die gute Frau etwas zu penetrant. Die Idee ist dennoch nicht schlecht. Richtig gut gelungen sind die dezenten Keyboard-Einsätze, die zu keiner Zeit übertrieben sind, sich schön hinter den anderen Instrumenten platzieren und auf ihre unscheinbare Art und Weise die Songs bereichern. Was das angeht, kann sich sicherlich die eine oder andere Band eine Scheibe von AENAON abschneiden. Das Keyboard muss eben nicht immer pompös und vordergründig sein, um zur Atmosphäre beizutragen.   Aufgenommen wurde “Cendres et Sang” in fünf verschiedenen Studios und für das Mastering zeigt sich niemand geringerer als Tom Kvalsvoll verantwortlich. Dieser konnte sich u.a. bei Alben von 1349, KEEP OF KALESSIN und EMPEROR mit guter Leistung schmücken und so ist es kein Wunder, dass auch “Cendres et Sang” einen passenden, stimmigen Sound erhalten hat.   Fazit: AENAON liefern mit “Cendres et Sang” ein starkes Debüt ab. Das Album bewegt sich auf hohem Niveau und überzeugt nicht nur durch gute Arrangements, sondern auch durch die Prise “Avantgarde”, die die vier Griechen ihrer Musik eingehaucht haben. Einziger richtiger Kritikpunkt ist die Ähnlichkeit zwischen den Riffs. Diese bewegen sich zwar auf einem hohen Niveau, jedoch fehlen die wirklich griffigen und im Gedächtnis bleibenden Melodien und Hooklines. Daran sollten die Jungs noch arbeiten. Für Liebhaber des extravaganteren Black Metals ist “Cendres et Sang” nichtsdestotrotz eine dicke Empfehlung.

(Autor: Malte H.)


Audiodrome (It) 3/5 - 18/09/2010

La code666 continua il suo percorso alla ricerca di giovani band da lanciare all'interno del panorama estremo internazionale. Dopo Saille, Syn Ze Sase Tri e Folge Dem Wind è arrivato ora il turno di Aenaon, formazione greca nata nel 2005, che dopo due ep arriva finalmente all'album di debutto, sotto l'ala protettrice di una delle etichette più attente a un certo tipo di metal contanimato e poco ortodosso. Cendres Et Sang viene presentato come un disco originale e frutto della voglia di sperimentazione dei quattro musicisti, e sotto alcuni aspetti è così. I pezzi sono tutti caratterizzati da un buon dinamismo, effetto ottenuto grazie a un songwriting capace di esaltare i vari strumenti (tra cui il sax che affiora di tanto in tanto), ma anche attraverso l'uso di linee melodiche ben costruite, soprattutto nel gioco tra le chitarre. Il riffing fin dalla prima traccia si dimostra molto interessante, ruvido e incisivo: nonostante il suo “spessore”, riesce comunque a scorrere con facilità, soprattutto in brani come "Suncord" o "Once Finite", quando rimane in primo piano. Di sperimentale qua però c'è ben poco, sia a livello strutturale sia a livello di sviluppo dei suoni, se non un tono vagamente progressivo (termine che può dire tutto e niente) nel modo in cui viene gestito il comparto strumentale. Alcune soluzioni sono più azzeccate di altre e questo determina una sensazione di qualità altalenante nell'ascolto del disco. "Necroscope" è un brano aggressivo e dai suoni brillanti, mentre "Grand Narcotic Harvest" sembra molto meno ispirato, con quel riff troppo statico e alcuni rallentamenti sacrificabili. L'uso della voce risente degli stessi pregi e difetti: talvolta viene calcata in modo eccessivo e ne risultano toni insipidi o saturi, ma si riscatta quando viene utilizzata in dosi più misurate. Il debutto degli Aenaon resta in ogni caso un valido lavoro, che nonostante alcuni difetti si lascia ascoltare con piacere e mostra promettenti margini di miglioramento. Di sicuro si fa distinguere tra la pochezza del mondo discografico black metal più accessibile, ma c'è ancora molta strada da percorrere.

A cura di: Giacomo Tomasetti


Metal Paths (Gr) - 06/05/2010

“A Parallel Zoetrope” is a 7″ split LP, which consists of 500 copies from the Greek Blacksters Aenaon and the Romanian band Satanochio. In the first side of the LP you can listen to Aenaon’s song “I, Tyrant”. The song starts with a classic black metal riff that reminds some favorite bands like late Satyricon. Furthermore, the band shows some progressive elements considering their backing vocals and some melodic guitar riffs. I firmly believe that, this is their most complete song considering their previous EP called “Phenomenon”. Although, they have put the limit higher, if the keep up the good work and the innovative ideas they undoubtedly get what they seek in the near future.   On the other side of the EP you can the track “Crimson Grim” of the Romanian group Satanochio. It begins with a nice groovy blackened riff, but the vocals kills it all as they don’t fit the band’s attitude at all. Surely, if they do some changes in their line up things will be better. Lastly, the artwork is great and very carefully done. Till, next complete job of both bands, you can happily headband with this nice LP.

by Vasilis “Lifer” Savvoglou


Femforgacs (Hu) 8.5/10 - 01/01/2010

Maybe it can be interesting, if I start the review of the greek band's first EP with a question, but I think it's necessary to clean: Is it worth to give a chance to a band, which goes on a way of a non-existing, but important band? When it's a work with great quality, but just a copy? If you respect the ancestors and aren't interested in the art of counterfeit, you have to decline the band (which started in 2005 in Thessaly), or just just listen neutrally, how they play their Emperor-based riffs and typical musical solutions. We could be the part of this for 25 minutes – it's a mini-album or an EP, whose design is also related to the cover of the well-known and important late albums from Emperor. (They reminds me the artwork of X Equilibrium and Prometheus - The Discipline of Fire & Demise, the promo photos are a bit Zyklon-ish, aren'they?) The sound isn't as professional as the scandinavian band's but this greek band is quite good I think. So, I ask again: it's worth to take your time and patience for something, which is strongly based upon the long-time masters? The Emperor is dead, and because Ihsahn found himself in his solo projects, there won't be any reunion, like Satyricon and Immortal. So, in this situation, other band has the opportunity, to follow their masters and maybe get their place in the scene. The greek Aenaon is the perfect example for this. But they have insprations from the Zyklon too, with its complex death metal grindings. So, the band plays complex, techincal, almost progressive black metal, with keyboards, varied musical themes, scandinavian artistic influences and some death metal. All musicians played in various bands before, but it's not wort to list them – even the members has the same musical talent as they could reach the level of Rotting Christ. It's the kind of black metal, when it's not about the raw gutiars, but the catching and massive riffs tear apart the listener. The unearthly lyrics of the front-man Astrous fits perfect to the musical conception, his vocals are between the deep growling and high screaming, often varied with melodic choruses and virtouos guitar solos. The atmosphere of the future, or philosophic sickness, sometimes fast, sometimes slow music, when it's necessary. So they can keep the conception, it doesn't seem to be stiltedly artistic. It's still a question, how can I rate it, should I stay at the originators, or let space for the inspired reincarnation? Finally – as you can check the rating – I don't shackle the greek band's stuff, which is well-built, but – as in form, as in concept - strongly resembling to others. This thing is just a small thorn in my flesh, not a complete tree, but still exists... If you don't count the fact, that it's a complex and smart xerox machine – even it's professional (the Bleak Art Records guarantee the great design and sounding), you could welcome the greek band's debut stuff. It's highly recommended the fans of Emperor, Zyklon, Satyricon, Varathron, Crionics, the old and honest Dimmu Borgir. The Behemoth, sometimes the Thorns or the Darkthrone could be also recognized in the music. So, it's a theatre with great music, professional performance and well designed stage, the only problem is the blattering xerox machine in the backstage.  

Talán érdekesnek hat, ha egy kérdéssel indítom a görög horda debüt kislemezének kritikáját, de úgy érzem muszáj tisztázni, miel?tt jobban belemelegednék. Érdemes-e esélyt adni olyan csapatnak, amely egy meghatározó, ám ma már nem létez? banda nyomdokain lépeget, min?ségi módon, de lényegében mégis csak fénymásolat? Ha az egykori ?söket tisztelve nem vagyunk kíváncsiak a mimézis m?vészetére, akkor el kell, hogy vessük, s maximálisan le kell, hogy húzzuk a 2005-ben alakult thesszaliai csapatot, vagy legalább is érdektelenül szemlélni, hogyan fektetik le az er?sen Emperor íz? riffeiket és tipikus stílusgyakorlataikat. Részesei lehetünk közel 25 percig, avagy mégiscsak egy mini albumról, azaz kislemezr?l van szó, melynek jól sikerült designja is er?sen hajaz a fentebb említett nagyhorderej? és meghatározó banda kés?i anyagjainak küls?ségeire (er?teljesen IX Equilibrium ésPrometheus - The Discipline of Fire & Demise lüktetés? a dolog… a promó fotók meg igencsak Zyklon szer?ek, nemde?). A hangzás annyira nem professzionális, mint egykori skandináv barátaink esetében, de azért a görög black bagázs se panaszkodhat. Szóval, teszem fel újra a kérdést; érdemes-e id?t és türelmet felcserélni egy olyan halmazra, mely az egykori nagyoktól merít? Az Emperor feloszlott, s mivel Ihsahn megtalálta helyét szóló projektjében, így nem számíthatunk arra, ami megesett a Satyricon vagy azImmortal esetében; így, pedig lehet?vé teszik bizonyos kezdeményezések, hogy ha a helyükre nem is, de a nyomdokaik árnyékába férk?zzenek, s elfoglalják kiérdemelt, vagy éppen megbundázott páholyuk. Nos, a görög Aenaontökéletes példa erre, avagy, ha nincs ló, jó lesz a szamár is, csak húzzon. ám a dolog ott azért egy csöppet sántít, hiszen hatásaik között nem csak a már sokat említett Emperor fordul meg, hanem mondjuk a komplexebb death metal ?rlések között a Zyklon is. A formáció tehát technikás és szinte már progresszív black metal, billenty?kkel a háttérben, sok váltással, skandináv vonalon haladó m?vészeti burjánzással s egy nagy adag death metallal. A görög zenészeink nagy része már játszott–játszik kisebb-nagyobb projectekben, melynek többsége black metal, de egyik sincs olyan nagy név, hogy érdemes lenne megemlíteni, még akkor sem, ha a képzettségük akár a Rotting Christszintjére is emelhetné ?ket. Az a fajta black metal ez, melyben nem a kásás gitárok, hanem a fogós és masszív riffek éles pengéi vagdalják be, szabdalják össze a kedves hallgatót. A frontember Astrous földöntúli szövegei a maga m?vészetével maximálisan kiszolgálja a stílust, illetve orgánuma valahol a károgás és hörgés között verg?dik, mely nem egyszer tölt?dik fel remek dallamos kórusokkal, és rövidebb-hosszabb virtuóz szólókkal. Jöv?t idéz? patetikus hangulat és filozofikus betegségek repedt atmoszférája, avagy a sebesség nem er?ltetett, éppen annyira gyors vagy éppen lassú, dallamos, mély, súlyos, amennyire az adott zenei rész megköveteli, avagy tudták tartani a szigorú koncepciót, annak ellenére is, hogy mindez nem hat er?ltetettnek vagy éppen m?vészked?nek. ily módon a kedves és teherbíró szamarunkból, majdnem ló nagyságú és külsej? négylábú patással álltak el?. A kérdés továbbra is az, hogy pontozzuk le, s tartsunk ki az eredetieknél, vagy engedjünk teret a hatásokon feln?tt reinkarnációnak? Én végül, mint a pontszám is mutatja, némi behódolással nem béklyózom meg a görögök jól összekalapált, de mind formájában, mind teljesítményében, mind pedig koncepciójában hith?en másoló, s a nagyokra hasonlító mélytengeri naszádját, de ett?l még egy kevéske szálka a szemembe maradt – nagy könnyedzés nincs, s nem is egy bútorlap, de azért mégis csak ott van…   Ha eltekintünk a profi munka mellett (a Bleak Art Records-tól már megszokhattuk a remek küls?ségeket és a korrekt hangzást illetve az istállóiban ácsorgó bandák egyikénél se nagyon tudunk panasszal élni), hogy lényegében egy ügyes és komplex fénymásolóval állunk szembe, akkor egész barátságosan is fogadhatjuk a görög hordát, melynek debüt mini anyagja ajánlott mindazoknak, akik kedvelik az Emperor, Zyklon, Satyricon, Varathron,Crionics, Dimmu Borgir még az ?szintébb korszakából, megemlíthet? még a Behemothés néhol a Thorns vagy a Darkthrone neve is. Avagy szép kis halmaz, remek zenével, profi el?adással, tökéletes színházzal és fényes kelmébe csomagolt színpaddal, az egyetlen problémát az öltöz?ben kattogó fénymásoló jelenti csak.   


Bloodcult (Gr) - 01/01/2010

Η εξέλιξη των ΑΕΝΑΟΝ είναι πραγματικά εντυπωσιακή. Μετά το υπέροχο πραγματικά Phenomenon” το οποίο έχουμε παρουσιάσει σε παλιότερο τεύχος, εδώ έχουμε μια 7” vinyl κυκλοφορία μαζί με τους Ρουμάνους SATANOCHIO. Το “I, Tyrant” των ΑΕΝΑΟΝ το έχω ΛΙΩΣΕΙ στο παίξιμο, πρόκειται για ίσως το καλύτερο κομμάτι που έχει γράψει η μπάντα ως τώρα. Στακάτο και τσαμπουκαλίδικο, είναι αδύνατον να μη σε “παρασύρει” μαζί του. Πανέξυπνα βρώμικα riffs, τρομερά φωνητικά, άψογο chorus και ξεκάθαρη παραγωγή. Στιγμές που φέρνουν στο νου ENSLAVED και SATYRICON φυσικά υπάρχουν, με δεδομένο το ότι οι ΑΕΝΑΟΝ ξέρουν ακριβώς τι ήχο θέλουν να βγάλουν και τα καταφέρνουν να είναι αναγνωρίσιμοι από τις πρώτες κιόλας νότες. Κομμάτι-μπόμπα, ανεβάζοντας το όνομα ΑΕΝΑΟΝ ακόμα πιο ψηλά. To “Crimson Grim” των Blacksters SATANOCHIO σε καμία περίπτωση δεν πιάνει τα επίπεδα του “I, Tyrant”, είναι σαφώς κατώτερο κομμάτι και προσωπικά το βρήκα σχετικά αδιάφορο. Με ενόχλησαν αρκετά τα φωνητικά τα οποία είναι πολύ κακά, καθώς και βρήκα ιδιαίτερα αστεία τη φωτό της μπάντας. Ένα 7” που μόνο για το “I, Tyrant” αξίζει να το έχετε στη συλλογή σας, αλλά πιστέψτε με, είναι αρκετό αυτό για α το αποκτήσετε. Θα με θυμηθείτε. Σταextra συν ωραίο εξώφυλλο του 7”.

AENAON's progress is remarkably outstanding. After the superb Phenomenon, which we presented in one of our previous issues, here we have a 7'' vinyl release together with the Romanian SATANOCHIO. I have been listening to  I , Tyrant  since its release because it's maybe the best song  the group has ever written so far. It's so 'bulling' that it's certain it will carry you away. Brilliantly dirty riffs, awesome vocals, impeccable chorus and clear-cut production. Of course, there are moments that bring ENSLAVED and SATYRICON in mind, given the fact that AENAON know exactly what kind of sound they want to produce, and to be honest,they succeed in being recognised from their very first notes. It's a 'bomb' song which ranks AENAON in even better places. Crimson Grim of Blacksters SATANICHIO is by no means as good as I,Tyrant, and I, personally speaking, find it indifferent. I was really bothered by the vocals which were bad, as well as the funny photographs of the group. A 7'' vinyl which is worthwhile to have it in your collection only for I, Tyrant. Believe me, this is enough.


Brutalism (Nl) 3/5 - 01/01/2010

This 7" vinyl is almost like a sampling CD if anything, showcasing a track from two very similar black metal bands. The first is by Aenaon from Greece, who produce a fuzzy atmosphere along with a fast pace of music. Sometimes the distortion gets so thick that everything becomes hard to hear except for the drums. The vocals are either a faded snarl or clean wailings. When the instruments play together that is when the distortion gets heavy. However, when only the guitar(s) are, then everything is a bit more bearable. It is pretty straightforward black metal, in the vein of Dark Funeral. The other track is performed by Satanochio from Romania. Their sound is similar to Aenaon since they use a hefty amount of distortion too when it comes to the guitars, but the vocals and drums are very different. The drums are much better as they are clearer and have a more hollow, unique sound to them. The vocals, unfortunately, are not as good and feature a very shrill tone that doesn't go well with the atmosphere or production of the rest of the music.   Strangely they are the more seasoned metal warriors and Aenaon don't even have a full length debut out yet, but black metal fans will probably find them much more appealing between the two.  


Elitarian Music (Ita) 8/10 - 01/01/2010

Split albums: there are various categories of them. Leaving out the most despicable ones, the average case, at best, sees two or more bands which, as much as they might sound different, do actually fit well together on the same disc. And then, once in a while, we’re lucky enough to be graced with something out of the ordinary, a chemist blend of different yet complementary expressions, an unique synergy that originates something powerful and at the same time emblematic. That’s where A Parallel Zoetrope comes in: this Split, released in a limited number of 500 copies on a 7’ vinyl, marks the coalition of Hellenic chaos mathematicians Aenaon and Bucharest visionaries Satanochio, a lethal and winning pair of aces that share a sharp sense for unconventionally approaching extreme metal music. Aenaon is not new to this writer: they’ve already obtained my praise with their noteworthy 2009 EpPhenomenon (a fitting title indeed), so I was thrilled to get acquainted with their progression, especially considering the recent line – up changes that brought founding member and guitarist Draugen, and drummer Vanghmar, to part ways with the band. The comeback of Achilleas, who had previously joined Aenaon during the 2007/2008 biennium, was not devoid of importance for the band’s progression, since he was put in charge of providing the music and the arrangements for I, Tyrant, the track that represents Aenaon on A Parallel Zoetrope. Albeit not drastically reinvented, their sound, in fact, seems to be heading in a bit of a new direction: I, Tyrant is a song that indulges in on Aenaon’s influences


Femforgacs (Hu) 9.7/10 - 01/01/2010

Not too long ago I wrote about the MCD of Aenaon yet, the band who were brought up in the shadow of Emperor - that material was entitled 'Phenomenon' and right back then I said, although it rather sounded like a complex photocopy machine, they would be worthy of attention in the future. Later they didn't actually give birth to a debut, but a split and it seems like it was released in 7" format only, limited to 500 copies - see here. In the light of this, we're seriously honoured and we're grateful to Floga Records for they have shared this piece with us as well. We recieved it on burnt CD and LP too, therefore it's obvious I was listening to the latter one. The sound and also the layout exceed the average international level, long since I've been as pleased as I am now while composing this review. The first band on the split is the Greek Aenaon, moving on a slightly post-black metal scene.   There's a frequent use of the already known solutions of Emperor and polyphonic vocals in their work, also the weird themes of the keyboards promise a good portion of electronic mimesis to the fans of music, written in a more modern vibe. As the info shows, in the meantime they got rid off their guitarist,Draugen, and their drummer as well, Lazaros Emanouilidis - as for who were playing the drums on the split, either a man or machine, that's something I can't decide, however it sounds alive enough).   So the drummer hadn't been replaced, but the lost six-strings' guy's position was filled with a fellow whose name's Achilles. Back to the release and its contents, the 'I, Tyrant' is a pretty complex and a well-structured track, perfectly expressing the way the Greeks began their own steps on. When it comes to the things that future holds, these hordes from Thessaly have all the chance to get into the rows of the outstanding and internationally acknowledged acts. However, from this point I don't think they lay further even now, especially when I keep these quality releases in mind, it's for sure we shall hear from them sooner or later. Among the infections besides Emperor, alsoZyklon, Satyricon and Dissection can be mentioned, though not that directly hereafter.   On the second side we find Satanochio with their unusually constructed black metal, hailing from the Romanian capital. Since their foundation back in 2004, they have released two full-lengths and an assful of EPs and splits. Musicwise, there are some who claim it is following an avantgarde lane, I still think it's rather a post-black metal construction. Of course the interesting solutions and shifts don't shut the earlier statements out. Though the two groups sail in different waters, the river might still be taken as the same; after all they are quite similar to one another.    The song from Satanochio's set, 'Crimson Grim' is less black metal, but more puritan, rude, with the assault squads of early Slayer lingering in the background. Beyond these arrangements, one may discover solutions similar to Fleurety. Anyway I was surprised by the recognition that the Romanian guys store such quality bands on their boards, it seems like every neighbouring countries will leave us behind, not just economically but musicwise too... ok, but let's not go immensely deep into the mixed frustrations of our political identities, instead of that let's enjoy the stuff these Greek and Romanian guys managed to put together.   The result is a demanding and limited split, which - in spite of its short playing time - is a rather valuable piece. It's worth of purchasing and scuffing the needle while enjoying the grooves that keep on streaming the complex music and professional sound.

Nem is olyan nagyon rég írtam a görög Emperor árnyékában feln?tt Aenaon Phenomenoncím? kislemezésér?l, s már akkor is úgy nyilatkoztam, hogy bár komplex fénymásológépr?l van szó, ett?l függetlenül érdemes lesz rájuk odafigyelni a jöv?ben. A jöv? nem debütöt szült, hanem egy splitet, amely nagyon úgy t?nik, hogy csak 7’-es lemezen jött ki (csekkold ITT), mindössze 500 példányban, így tehát komoly megtiszteltetés és köszönjük a Floga Recordsnak a korrektséget. Megkaptuk írott CD-én és természetesen hanglemezen is, s az is evidens hogy utóbbit hallgattam. A hangzás és a küls?ségek egyaránt túlmutatnak az átlagos nemzetközi szinten, régen voltam ennyire elégedett egy kritika megírása közben.  A splitet a görög kissé talán post-black metalAenaon kezdi, a már megszokott Emperormegoldásokkal dolgoznak, nem mentes a többszólamú vokáloktól sem, ahogy a billenty?k fura témái is nem kevéske elektronikus mimézissel kecsegtetik a modernebb felfogású zenék szerelmeseit. Az információk szerint id?közben megszabadultak gitárosuktól Draugen–t?l illetve a dobosuktólLazaros Emanouilidis-tól (hogy ki játszik a spliten, ember vagy gép – azt nem tudom, bár kell?en él?nek t?nik). Mint már említettem a dobos nem lett pótolva, de az elveszett hathúros helyére Achilles nev? muksi került. S hogy visszatérjek magára az anyagra és annak tartalmára; az I, Tyrant komplex és nagyon összerakott nóta, tökéletesen kifejezi azt az utat, amelyen a görög srácok elindultak. A jöv?t tekintve a  thesszaliai hordának rengeteg esélye van arra, hogy kiemelked? és nemzetközileg elismert bagázs legyen (bár ett?l úgy érzem személy szerint, hogy most sem állnak messze – f?leg ilyen min?ségi kiadványokat elnézve igenis fogunk még rólunk hallani). Az említett Emperor mellett fert?zések terén megemlíthet? még mindig (már nem annyira direkte) Zyklon, Satyricon, Dissection…   A második oldalon a román f?városból érkezettSatanochio következik megint csak nem megszokott halmazokban dolgozó black metaljukkal. A bukaresti csapat 2004 alakulása óta két nagylemezt, és egy valag EP-ét és splitet adott ki, zeneileg egyesek szerint avantgárd, én inkább érzem post-black metalnak, de természetesen az érdekes megoldások és váltások nem zárják ki a fentebb említetteket. S bár a két csapat nagyon más hajóban evez, valahogy a folyó mégis egy, hiszen mégiscsak hasonlítanak egymásra. A Satanochio Crimson Grim cím? nótája kevésbé black metal, puritánabb, bunkóbb, a háttérben a korai Slayer rohamsisakos osztagjai vesztegelnek, miközben sok helyen a Fleurety féle megoldások és átjátszások burjánzanak. Engem amúgy meglepett, hogy a románoknak ennyire min?ségi bandái is vannak, úgy t?nik lassan nem csak gazdaságilag, de zeneileg is lehagy minket minden környez? ország… na, de ne menjünk bele politikai identitásunk vegyes zavaraiba, s inkább élvezzük, amit a görög és román formációk összepasszítottak.    A végeredmény egy igényes és limitált split, amelyet rövidsége ellenére is érdemes beszerezni, és kopatni a t?t, élvezni a barázdákat, amelyekb?l komplex zene és professzionális hangzás súrolódik ki.     


Funeral March (Se) - 01/01/2010

Finally some new material from the great Aenaon, even though it is only one track it is truly great to hear them again. I really liked "Phenomenon" that they released in 2009. This time it sounds different though, it is a little less complex and a little more catchy. Still it has the chaotic structure that I really like but it has developt into something different, it is more catchy if I might say so, slightly more "melodic". And it is fucking awesome! "I, Tyrant" is a brilliant song; it's structure, melodies, sound... it is all perfect. I really like that they have dared to try something new and broken their borders. I am sure that all old fans will like this as well as new ones will like this as well. Excellent! On the other side of this 7" is Satanochio, a band that I have some records of but haven't really given them the chance that they deserve... they have somehow disappeared in my record collection. Anyway, this song is very good! It is quite hard to describe this with words and that I mean in a good way; I can't describe so I recommend that you listen to it. It is not ordinary black metal, Satanochio feels rather unique and that might be because of their musical approach combined with the vocals. I will not go deeper into this and analyze it more because I think that it should be heard with own ears. Overall this is a damn good split album, both bands have one great song here so this is well worth spending money on. The artwork on this 7" is also great. It is a pleasure listening to and looking at. Buy it now!    


Global Domination (Se) 7/10 - 01/01/2010

Black metal demo deluxe (split demo/7”). That is basically what this is. A short eight-minute demo featuring exactly two songs (because of that, this coverage is going to be shorter than usual). The production on the guitars is actually decent, too. Even by demo standards. There are a few downsides: some of the drum production is goddamn atrocious. The high-pitched vocals on the second track fucking suck absolute cock and are better left out or replaced with low growls (similar to the first track), as this bad van Drunen impression leaves me with naught. Then again, apparently that is a different band as this is a split demo. Done by some Romanian band called Satanochio. I have no fucken clue why this is a split, but it is. The second track is in exactly the same vein as the first anyhow. Except the vocals are not as good. That is pretty much it. You know what the best part is: the riffs are fucken addictive as shit. The dude(s) that do guitar are fucking excellent and riff like there’s no tomorrow. Occasionally there is a thrashy groove to the guitars that propels the whole thing forward. There are excellent melodic parts on the first song as well during the first song. The Nemtheanga-esque vocals work well in context. Basically, it’s decently-produced black metal with some thrashing influences and without the constant blasting (so it’s experimental apparently). You wanna know what I think of this recording? Good work, kids. You hold potential for a good full-length. Recommendation: Put out said full-length. Haven’t heard something this good from a young band in quite a while.


Greek Rebels (Gr) 7/10 - 01/01/2010

Τι έχουμε εδώ; Μία ‘μαύρη’ συνύπαρξη μίας Ελληνικής και μίας Ρουμάνικης μπάντας σε ένα 7ιντσο βινύλιο. Ένας δίσκος που με το εξώφυλλό του μάλλον σε stoner παραπέμπει περισσότερο, παρά σε black metal μονοπάτια. Ωραία η οπτική άποψη πάντως, αλλά πάμε και στο ακουστικό μέρος… Στην μία πλευρά έχουμε τους Aenaon με το “I, Tyrant”. Πολύ ενδιαφέρουσα προσπάθεια, με ένα ίχνος πειραματισμού στον ήχο τους που παίζει λίγο με το avant-garde στοιχείο. Το μόνο που μου ξένισε κάπως στα αυτιά ήταν κάποια καθαρά και κάπως epic φωνητικά που υπήρχαν σε κάποια σημεία του κομματιού. Παρόλα αυτά, αυτό το δείγμα της δουλειάς τους μου άφησε πολύ καλές εντυπώσεις και σίγουρα θα ήθελα να ακούσω κάτι παραπάνω από αυτούς στο μέλλον. Όσο για την άλλη μεριά του δίσκου, εκεί θα βρείτε το Crimson Grim των Satanochio. Εδώ δεν μπορώ να πω ότι εντυπωσιάστηκα ιδιαίτερα. Υπάρχουν κάποιες καλές ιδέες μεν, αλλά όχι κάτι που θα σου πάρει το μυαλό. Αυτό που δεν μου άρεσε κυρίως όμως ήταν τα φωνητικά, που δεν είναι και ότι καλύτερο από άποψη χροιάς και χαλάνε κάπως την γενική εικόνα. Αξίζει πάντως να του ρίξετε μία ακρόαση για να τους γνωρίσετε.

What do we have here? A 'black' coexistence of a Greek and a Romanian group in a 7'' vinyl. A record, whose cover refers to a stoner rather than black metal. Enough,though,with the visual part. Let's move on with the audio part. On the one side of the record, we have AENAON with I, Tyrant. A very interesting attempt, with an element of experiment in their sound, which plays with the avant-garde element. The only thing that sounded strange to my ears was one of the guitars and in a way, some epic vocals which were in some parts of the song. Despite these, this sample of their work left me with a good impression and i would definitely like to hear from them soon. On the other side of the record, you'll find Crimson Grim of Satanochio. I can't really say I was particularly impressed .There are definetely some good ideas but it's not that you will be carried away. What I really like was the vocals as far as timbre is concerned. As a result, they destroy the whole image of them. However, you should listen to them and get to know them.


Heavy Hardes (De) - 01/01/2010

Die Griechen Aenaon haben mit ihrer 2009er EP Phenomenon bei unserem Lord Obirah für mächtig Eindruck gesorgt. Nun melden sich die Hellenen mit der Split-EP zusammen mit Satanochio (Rumänien) zurück auf der musikalischen Bildfläche, und das nicht nur in digitaler CD-Form, nein auch die gute alte Vinyl-EP wird hier auf den Markt gebracht. Nostalgie pur. Mit "I, Tyrant" legen Aenaon schon mal mächtig vor. Der opulente Black Metal mit Death Metal-Einflüssen ist sehr druckvoll und fett produziert und drückt einen gleich mal in den Sessel. Der Song ist sehr abwechslungsreich gestaltet, das Tempo wird oft gewechselt (ohne jedoch dadurch den Songfluss zu zerstören), ebenso wie die Vocals, die zwischen aggressiven Shouts und klaren Vocals (meist beim Refrain) wechseln. Vor Melodien wird ebenso wenig zurück geschreckt wie vor dem Einsatz von Keys, diese dienen jedoch nur der Hintergrund-Untermalung bei einem Midtempopart. Man kann sich den Song rauf und runter anhören, er wird und wird einfach nicht langweilig, was am variablen Songaufbau liegt: mal wird Gas gegeben, mal schwenkt man abrupt ins Midtempo um und verleiht dem Song dadurch mehr Druck. Für diesen Song kann man, nein muss man eine "5" zücken.   Die aus Bukarest stammenden Satanochio können dieses Level dann nicht mehr halten, und dass, obwohl die Jungs im Gegensatz zuAenaon schon mehr Veröffentlichungen vorweisen können. Der überwiegend in schnelleren Gefilden angesiedelte Black Metal ist zum einen weitaus weniger druckvoll (produktionstechnisch) in Szene gesetzt worden. Zum anderen zerren die heiser wirkenden Vocals nach geraumer Zeit schon etwas an den Nerven. Spieltechnisch gibt man meistens Vollgas, nur kurz wird das Gaspedal losgelassen. Wenn sie jedoch das treibende Midtempo angehen, unterlegt von melodiösen Soli, können noch Punkte eingefahren werden, auch wenn das erst am Ende des Songs "Crimson Grim" passiert. So springt für Satanochio nicht mehr als eine "3-" raus.   Ich für meinen Teil warte nun sehnsüchtig auf das erste Full-Length-Album der Griechen Aenaon.  

The Greek band AENAON have completely convinced our Lord Obirath with their EP „Phenomenon“ from 2009. Now these Hellenic guys return with their new split EP with SATANOCHIO from Romania, but this time not in digital CD format, but on good old vinyl instead. Pure nostalgia. With "I, Tyrant", AENAON go straight ahead. Mighty Black Metal with Death Metal influences comes powerful and well-produced and completely kicks ass. The song is very varied. There are many tempo changes (but without destoying their own songwriting). Also the singer changes between aggressive shouts and clear vocals (mostly during the refrains). They´re also not afraid of using melodies and keyboards although they are only used in the background in some midtempo parts. You can always listen to that song again and again. It just doesn´t get boring because of the varied structure of the song: Sometimes they are fast. Sometimes they suddenly change into midtempo and give more power into the song. For me, you can – no, you must – give 5 points for this one. SATANOCHIO from Bucarest sadly can´t hold this level instead although they have released more stuff than AENAON to date. They mostly play fast Black Metal, but much less powerful (concerning the production). On the other hand, I get bored by the rough vocals quite fast. They mostly play uptempo stuff. In some midtempo passages they have some nice guitar melodies that I like. This happens at the end of the song „Crimson Grim“. So, there are only 3 points left for SATANOCHIO.  I personally long for the first full-length album by the Greek AENAON now. 


Hellenic Metal (De) - 01/01/2010

This 7“ EP was released in 2010 through Greek label Floga Records in co-operation with Orkestral Promenade Productions. It features one song each band. The Romanian band Satanochio strikes with a straight Black Metal song called Crimson Grim. Good tune, even if the vocals are not everyone’s taste.  Aenaon’s song is called I, Tyrant, a song written by Achilleas (Varathron), who returned after his departure a few years ago. Lyrics are from vocalist Astrous (Disolvo Animus). I, Tyrant is a technical/progressive Black Metal song, with lots of tempo changes and different parts. It catches up easily with their strong Phenomenon material, it is likely even stronger.  It’s a pity that there’s just one song, it quickens the appetite for more!


Infernal Masquerade (Us) 87/100 - 01/01/2010

All the way from Greece recently we got a very nice 7” split from Aenaon and Romanian Satanochio. In this short but sweet split we get to listen to another brilliant track from Aenaon and a different but equally intense song by Satanochio. Featuring one track per side, this 7” split is very nicely packaged and ready to become a collector’s item for fans of either band since it’s limited to 500 copies. Starting off on the Aenaon side, we get a Black Metal anthem with influences from Zyklon and other more experimental bands like Dodheimsgard and Ihshan. Aenaon since their mCD “Phenomenon” has immediately grabbed our attention and with “I, Tyrant” they show that they are masters at creating powerful riffs, interesting vocal melodies and blasting drum patterns that deserve the attention of any ‘refined’ Black Metal fan.   On the other side we get Satanochio’s “Crimson Grim” a track that is very well crafted but lacks a bit in the production aspect. However, this track is very brutal in nature and showcases the band’s ability to create Black Metal songs. The drumming is very intense and the bass guitar pounds away through the duration of this track. The riffing is fairly standard and the solo’s are very well crafted, but the screams take a bit of getting used to them, but if you know the band’s previous work, you will be surely satisfied.   In general, “A Parallel Zoetrope” is a very good split and shows both bands at their best. We do hope that Aenaon keeps releasing stuff like this in the future and that they find the appropriate label to showcase their abilities to the world. In the case of Satanochio, we found this band to also have quality elements that will surely get them more noticed in the future. If you are a collector of interesting 7” releases, “A Parallel Zoetrope” should not be missing from your collection.  


Metalhead (Gr) 80/100 - 01/01/2010

Οι Aenaon είναι μια black metal μπάντα από την Ελλάδα, και εδώ θ' ασχοληθούμε με την τρίτη κατά σειρά κυκλοφορία τους με τίτλο ''A Parallel Zoetrope''. Είμαστε οι τυχεροί που αποκτήσαμε μία από τις 500 κόπιες και ευχαριστούμε τα παιδιά που μας έστειλαν τη δουλειά τους. Σ' αυτό τη σημείο να πώ κι ένα μπράβο που μαζί με το promo, μου ήρθε κι ένα split 7αρι. Δεν είναι συχνό φαινόμενο στις μέρες μας..
Καλοστημένες μουσικές λοιπόν, με το πρώτο κομμάτι του demo να ξεχωρίζει και να σε προκαλεί να το ακούσεις ξανά και ξανά. Αρκετά ανοιχτοί ορίζοντες για black metal μπάντα, μιας και καταφέρνουν να ξεφύγουν σχετικά από τα στάνταρ του συγκεκριμένου ήχου. Αenaonκαι Satanochio φαίνεται να έκαναν μια πολύ καλή δουλειά, και παρότι η ακρόαση είναι αρκετά σύντομη, τα ωραία riffs,οι ενδιαφέρουσες φωνητικές μελωδίες και τα καλοπαιγμένα τύμπανα ξεχωρίζουν. Το μόνο που με ξένισε ήταν τα καθαρά φωνητικά που αν και καλά σαν ιδέα, δεν τα βρήκα μελετημένα και απέτυχαν να εντυπωσιάσουν.Παρ' όλα αυτά σαν ιδεά οι εναλλαγές καθαρών καιscreams φωνητικών στον black metal ήχο είναι κάτι πολύ ενδιαφέρον.
Όσον αφορά τους Satanochio, αποδεικνύουν πως σίγουρα το έχουν στο να γράφουν black κομμάτια. Έχει όλα τα κλασσικά. Έντοναdrums, φωνητικά που ανατριχιάζουν,και οι κιθάρες ''ξυρίζουν''. Αλλά ενώ πρόκειται για ένα καλό κομμάτι, μου έλειψε αυτό το ''κάτι'' που θα το κάνει να ξεχωρίσει.
Σε γενικές γραμμές, πρόκειται για μια πολύ καλή και πρσεγμένη δουλειά σε όλα τα επίπεδα(artwork, παραγωγή κλπ.) που αν και έχει περιθώρια βελτίωσης, σίγουρα μιλάμε για δύο μπάντες πολλά υποσχόμενες που βλέπω να μας απασχολούν αρεκτά έντονα στο μέλλον.

Aenaon is a black metal band wich come from Greece, and here we are going to deal with the third release of theirs entitled “A Parallel Zoetrope”. We are lucky enough to obtain one of the 500 copies and we thank the guys which sent us their work. I would like to say bravo to them because as well on their on their promo, I received a 7” split. This is not very often nowdays. Well-set music with the very first song of the demo which challenges you to listen to it over and over again. Open horizons for a black metal band which manage to get away from it all. Aenaon and Satanochio seem to have done a very good work, and although the audio is very shirt, the beautiful riffs, the interesting melodies and the well played drums stand out. The only thing that surprised me was the vocals, which although they were good as an idea, I don’t think they were well prepared and failed to impress me. Besifes that, the idea of the succession of clear and scream vocals in the black metal sound is something very interesting.
As for Satanochio, they prove that they know hoe to make black music. It includes all the classic features. Acute drums, vocals that make you shiver and razor-sharp guitars. Although it is a good song, there was something missing that would make it to distinguish.
Generally speaking, it’s about a well prepared work in all levels (artwork, production etc.) which can it be improved. We are definitely talking about two promising bands which they are going to distract us in the future.


Metal Hammer (Gr) 8/10 - 01/01/2010

Και μόνο του συμπαθέστατου 7’’ βινυλίου που κρατάω στα χέρια μου, θα μπορούσε αυτή η πάντα να καταλάβει μια θέση στις προτάσεις του μήνα. Φυσικά, και το μοναδικό κομμάτι των «δικών μας» Aenaon (οι Satanochio έρχονται από τη Ρουμανία) ωθεί προς αυτή την κατεύθυνση, μιας και πρόκειται για μοντέρνο, καλοπαιγμένο black metal με εξαιρετική παραγωγή σε αντίθεση με τους κάπως πιο death και πιο χύμα Satanochio (πολύ cool όνομα πάντως). Ο λόγος που τελικά το split αυτό δεν κατέληξε στις προαναφερθείσες θέσεις είναι αφ’ ενός ότι δεν ανήκει αποκλειστικά στην Ελληνική σκηνή και αφ’ ετέρου ότι ένα μόνο τραγούδι ίσως αποτελεί μικρό δείγμα
Όπως και να ‘χει, τσεκάρετε το ελκυστικότατο πακέτο που προσφέρουν οι Aenaon στο Myspace τους και στηρίξτε την προσπάθεια γιατί αξίζει τον κόπο.
8 (Aenaon)
6 (Satanochio)

The fact that I’ m holding the cute 7” vinyl in my hands, could give a place in the charts of this month to that band. Of course, the only song of “our” Aenaon (Satanochio come from Romania) drive them to that direction, sinced it’s about a modern, well played black metal with excellent production as opposed to Satanochio, which are supposed to be more death. However, they have a very cool name. The reason why this split didn’t ended in the above mentioned places is, on the one hand, because it’s not entirely Greek and on the other hand, a single song is only a small sample.
Anyhow, check the attractive packet that Aenaon offer in their myspace and support their effort because it’s worth it.
8 (Aenaon)
6 (Satanochio)


Metal Holocaust (Gr) 88/100 - 01/01/2010

Ω Θεε! Λάθος έκφραση, οι black metallers προσβάλλονται! Τι κομμάτι είναι αυτό που κυκλοφόρησε και έφτασε στα χέρια μου? Η μπάντα δήλωσε πως ήρθε να σαρώσει μετά και από το split. Ο λόγος για τους Θεσσαλούς Aenaon, οι οποίοι μετά το τρομερό εκείνο E.P. “Phenomenon”, κυκλοφόρησαν και το splitάκι με τους Ρουμάνους Satanochio με τίτλο “A Parallel Zoetrope” και ο κόσμος μας πλέον είναι πολύ καλύτερος.
Μπορεί να μην είμαι απόλυτος γνώστης του black metal, μιας και τα ακούσματα μου είναι πολύ συγκεκριμένα στο χώρο αυτό, παρόλα αυτά, μπορώ να ξεχωρίσω το heavy black metal με τα εμφανή epic στοιχεία στον τομέα του συναισθήματος, μέσα από το “I, Tyrant” των δικών μας Aenaon. Η παραγωγή πραγματικά τσακίζει κόκκαλα, κάνοντας το κομμάτι να ξεχωρίζει δίπλα στο “CrimsonGrim” των Satanochio, με το πιο avant-garde black. Το μόνο σίγουρο είναι πως το “Crimson Grim”, είναι πολύ κοντά σε κλασσικά κομμάτια του χώρου, κάνοντας τη μπάντα μια άκρως ανερχόμενη δύναμη, εγώ παρόλα αυτά αυτά τα φωνητικά του avant-garde black metal ΔΕ ΜΠΟΡΩ να τα ακούσω. Μου φέρνουν στο μυαλό ελληνικό αναρχοπάνκ! Σαν να μου φαίνεται πώς τους ξέφυγε μέσα από το“From Beyond”.
Τα μάτια σας ανοιχτά για τους Aenaon. Έχουν πολύ μέλλον μπροστά τους, με τρομερές ιδέες και μεγάλη όρεξη για δουλειά!

Oh God! Oops! Wrong expression, the black metallers will be offended by that! What an incredible song that they have released? The band stated that they have come to make a clean sweep after that split. We are talking about the Thessalian Aenaon, who after the incredible Phenomenon, released this split with the Romanian Satanochio entitled “A Parallel Zoetrope”, and since then our world become even better!
I might not be an expert on the black metal, since I am only accustomed to some specific sounds, yet I can distinguish the exceptional heavy black metal with the evident epic features as far as emotions are concerned, through “I, Tyrant” of “our” Aenaon. Their production is really awesome, and their song distinguishes from that of “Crimson Grim” of Satanochio, with a more avant-garde black. What is certain is that “Crimson Grim” is much closer in similarity to other classical songs making the band an up-and-coming power. Beside this, I still can’t liste to that kind of music. It brings in mind Greek anarcho-punk! It seem to me as if they have escaped from “From Beyond”.
Be keep your eyes open for Aenaon. They are going to have a brilliant future, with awesome ideas and a great appetite for work!


Metal Pulse (Ca) 8/10 - 01/01/2010

A Parallel Zoetrope is a partnership between Greek black metal enthusiasts Aeneon and blasphemous Romanian counterparts Satanochio released on 7’ vinyl. One song by each band is featured on the album both in the realm of avant-garde black metal but with very different outcomes.

I have the pleasure of checking up once again on the guys from Aenaon whom I’m very curious to hear since reviewing Phenomenon. A few lineup changes have occurred since Phenomenon was released almost a year ago. Draugen (guitars) and Vanghmar (drums) have parted ways for various reasons and Achilleas rejoined to fill the empty guitarist slot as well as take a leading role in the mixing of “I, Tyrant”. Aenaon’s sound has definitely blossomed since the last time we crossed paths into something more diverse and “I, Tyrant” illustrates this growth. It isn’t drastically different, but the change is evident enough to know they’re progressing, twisting and manipulating their black metal foundation into something more experimental and unique. Each element is distinct and in some cases unexpected but all has its place in the overall feel of the song. If this is a taste of the emerging creativity to come, I’m genuinely excited for the new album.

Satanochio’s track “Crimson Grim” can be described as raucous, raw, and blasphemous. Like Aenaon, they take an unconventional approach to black metal, but the result is a chaotic combination of avant-garde and thrash that sounds not a bit like A Parallel Zoetrope’s other half. They’ve managed to create an unsettling sound led by a high, choked scream in an atmosphere of, well, insanity. Trying to get into the minds of Satanochio is an impossible feat indeed and what confuses me about them is the apparent regression from a more refined sound (From Beyond – 2008) to something so intensely raw. If you’ve never heard them before, try digging up some old material, too.   Now is it worth trying to get your hands on one of the limited 500 copies? For diehard fans, yeah for sure.

A Parallel Zoetrope is artistically impressive and combines two unique takes on experimentalist black metal including Aenaon’s most interesting track to date. “I, Tyrant” – 8/10 “Crimson Grim” – 6/10  


Metal Revolution (Dk) 7/10 - 01/01/2010

Aenaon is a black metal four-piece coming from Hellas (Greece). The band was formed in 2005 and A Parallel Zoetrope is their third release, a split release with another raging band  Satanochio. Satanochio is a Romanian (Bucharest) band that I have never heard of before! They are, at least for me, one of the biggest mysteries in the East-European metal scene. They constantly push with all the boundaries of dark extreme metal; without compromise.   The whole A Parallel Zoetrope CD-R is a very short one, giving you exactly only the foretaste for what is to expect if you go a bit further and listen to their music. First song presented here is by above mentioned Aenaon and they perform here their I, Tyrant track. The production is very decent, esp. on the guitars. I like the fact that there are some excellent melodic parts on this song.   Second track is one from Satanochio and is entitled Crimson Grim. This one is characterized by some high-pitched vocals. Other than this; I find the second track to be in exactly the same vein as the first one, maybe with only exception for the vocals. If you are into decently produced black/thrash metal this is the right shit for you.  


Metal Zone (Gr) 85/100 - 01/01/2010

I am really getting bored of cd’s. And a sweet split 7” vinyl saves the day! I am talking about “A Parallel Zoetrope”, a split between Aenaon from Greece and Satanochio From Romania (one track each). So let’s get started!
Aenaon side: What we deal here is big balls f#@%ing black metal with really modern sound that reminded me of Dodheimsgard, new era Mayhem and Borknagar(must be the clean backing vocals).The production is just great (mixed by the band’s guitarist and mastered by Tom Kvalsvoll) and what we get with “I ,Tyrant” is just a sweet taste of what comes next (the band right now is composing the next album). Seems that after the “Phenomenon” mcd some serious music will be released. We are waiting for the new one.
Satanochio side: An avant-garde black metal From Romania.A band that combines the fury of old black/thrash metal with the intelligent riffs of Ved Buens Ende. The production is not as good as the Aenaon track but it is a live recording mixed and mastered by the band and certainly gives a raw feeling to their music. Just fine to my ears and I think that they really have things in common with Aenaon.Extra credit for Mr S., singer of the band that sounds pretty close to my all time favorite Kickback and all that kind of fury bands.
The 7” has some great artwork by Costin Chioreanu and I wish it contained more tracks from both bands.Hail!
P.s: The guys were kind enough to include a promo cd version for those who don’t own a turntable.


Rock Overdose (Gr) - 01/01/2010

Οι Aenaon είναι μία black metal μπάντα από τη περιοχή της Θεσσαλίας. Οι Satanochio από την άλλη μεριά είναι Ρουμάνοι. Αποφασίσανε να συνυρπάξουνε για ενα 7ιντσο βινύλιο, όπου στη μια του μεριά υπάρχει το κομμάτι "I, Tyrant" των Aenaon και στην άλλη το "Crimson Grim" από τους Satanochio. Στυλιστικά έχουμε ένα πανέμορφο εξώφυλλο, και ένα προσεγμένο από όλες τις απόψεις βινύλιο. Δεν είμαι και πολλύ φαν του είδους, αλλά ως εκ θαύματος μόλις έβαλα να ακούσω το κομμάτι των Aenaon, αμέσως κατάλαβα ότι οι τύποι αυτό που κάνουνε το κάνουνε πολλύ καλά και άκρως επαγγελματικά. Πάρα πολλύ καλή παραγωγή, που αυτή από μόνη της δίνει άλλη άποψη στο κομμάτι και πραγματικά το κάνει να ξεχωρίζει σε αντίθεση με αυτό των Ρουμάνων Satanochio, των οποίων το κομμάτι αν και έχει κάποια καλά στοιχεία, δε μπορώ να πώ ότι με συγκίνησε ιδιαίτερα.

Οι Aenaon προχωράνε ένα βήμα παραπέρα, με πιο πειραματικό, τεχνικό θα έλεγα παίξιμο, αναμυγνείοντας άψογα το black metal, με στοιχεία death, gothic, ακόμη και epic σε πολλά σημεία. Μπορώ να πω ότι παρατηρούμε επιρροές από τους καλούς EMPEROR, αλλά και από τους IMMORTAL, κυρίως από το άλμπουμ "At The Heart Of Winter" Πιστέψτε με, καταφέρανε να με κάνουνε να ακούσω το κομμάτι πάνω από 5 φορές συνεχόμενα, και πραγματικά το κομμάτι αυτό, μας δείχνει ότι αν περιλαμβάνεται στη επερχόμενη δουλειά τους μαζί με άλλα παρόμοια, τότε θα μας κάνουνε να παραμιλάμε για πολλύ καιρό! Και σίγουρα θα κάνει και πολλούς, ακόμα και στο εξωτερικό να τους προσέξουνε!

Για τους Satanochio, ανέφερα και παραπάνω, η παραγωγή τους δεν είναι καλή, τα φωνητικά τους δε τα μπορώ, αλλά η μουσική τους ελιναι πολλύ καλή και προσφέρεται για headbanging, οπότε αν κοιτάξουνε τα αδύνατά τους σημεία μπορούνε να κάνουνε κάτι πολλύ αξιόλογο.
Πάντως ένα έχω να πώ:
Hail To The Greek Metal Scene!
Hail To Aenaon!


Aenaon is a black metal band from Thessaly. Satanochio, on the other hand, are Romanian. They decided to co-exist in a 7 inch vinyl, where on one side you can listen to I, Tyrant of Aenaon and on the other side Crimson Grim of Satanochio. We have a wonderful cover and a neat on everyside vinyl. I am not really fond of that kind of music but as a miracle, when I listened to Aenaon’s song, I immediately understand that these guys do what they do really preofessional. A very good production which makes it distinguish from that of the Romanian Satanochio, whose song although had some good elements, I can’t say it that touches me.

Aenaon move a step forward, with a more experimental playing combining impeccably black metal, with elements of death, gothic, even epic in many places. I can say that we can notice influence from the very good Emperor, as wel as Immortal, especially from their album “At the Heart of the Winter”. Believe me, they managed to make me listen to their song more than 5 times in arrow and if they include this song in their upcoming work with other similar to it songs, then it’s sure that we are going to talk about them in a long time! And it’s definitely sure that many people abroad will notice them as well!

As for Satanochio, I already mentioned before, their production is not so good. I really can’t stand their vocals, but their music is good and suitable for headbanging, so if they consider their weak points they have potentionals. I have only one thing to say! Hailt the the Greek Metal Scene! Hail to Aenaon!


Rockap (Gr) - 01/01/2010

Ένα πράγμα που μου άρεσε πάντα στην Ελληνική σκηνή είναι ο πειραματισμός. Βέβαια άλλες φορές στέφεται από παταγώδη αποτυχία, άλλες φορές όμως βρίθει εξυπνάδας, πράγμα που τον κάνει εξαιρετικά ενδιαφέρον. Αυτό ισχύει και για την πρώτη μπάντα του εν λόγω σπλιτ, τους Ελληνες Aenaon.

Με τις καταπληκτικές δομές τους που περιέχουν πινελιές από intelligent/old school black metal μαζί με hardcore, μας παρουσιάζουν μια ευφυέστατη δουλειά, ευκολοάκουστη για οποιονδήποτε ακροατή που με ευκολία θα μπορούσε να κατατάξει το I,Tyrant ως ένα από τα πιο έξυπνα τραγούδια στην Ελληνική σκηνή αυτή την στιγμή. Χωρίς να συνεχίσω να πολυλογώ, οι Aenaon δίνουν τον καλύτερο τους εαυτό σε αυτό το split βινύλιο και αυτό είναι εμφανές.

Από την άλλη, οι Ρουμάνοι Satanochio κινούνται περίπου στα ίδια μονοπάτια, με μόνη διαφορά ότι είναι πιο μελωδικοί. Το Crimson grim με άφησε αδιάφορο. Δεν καταφέρνουν να φτάσουν το συνθετικό ζενίθ των Aenaon και μένουν στην σκιά τους ως πολύ κατώτεροι. Ούτε καν δεύτεροι και καταϊδρωμένοι που λέμε. Όχι ότι η μπάντα δεν αξίζει, δυνατότητες και ικανότητα έχει. Και απ ότι είδα τα υπόλοιπα κομμάτια της καριέρας τους είναι άκρως καλοδουλεμένα. Το Crimson... όμως δεν προκαλεί καμία εντύπωση.

Εάν υπάρχει 1 λόγος να προμηθευτείτε αυτό το βινύλιο τότε αυτός λέγεται Aenaon.Τέλος

What I really like about the Greek music scene is experimentation. Of course, some time it’s a complete disaster and some other times it is full of intelligence which makes it interesting. This applies to the first band of the split, the Greeks Aenaon.

With their incredible structures which contain touches of intelligent /old school black metal as well as hardcore, they present us with a brillieant work, easy listened to erveryone who could rank I, Tyrant as one of the most intelligent songs in the Greek music scene nowadays. In a nutshell, Aenaon give their best to that split vinyl and it is obvious.

On the other hand, the Romaninan Satanochio, more towards that direction, only they are more tuneful. Crimson Grim makes no difference to me. They don’t succeed in reaching the peak in synthesis of Aenaon and they remain in their shade as inferior. Not even to come a very poor last! It’s not that Satanochio is not worth it, on contrast they have abilities and potentional. As for I have seen from their other songs are well done. Crimson Grim doesn’t make an impression. If there is one reason to buy that vinyl, it’s called Aenaon. That’s it!


Rocking (Gr) - 01/01/2010

Ένα 7" split, δύο μπάντες και 500 αντίτυπα παγκοσμίως. Η μια λοιπόν μεριά του βινυλίου ανήκει στους Aenaon, που μας παρουσιάζουν ένα δείγμα μετά το ΕP "Phenomenon", με το οποίο κέρδισαν ένα αρκετά μεγάλο μέρος του black κοινού. Το "I, Tyrant" ξεκινάει δυναμικά με ένα κλασικό black metal tempo και από την πρώτη στιγμή ακόμα κερδίζουν τις εντυπώσεις τα φωνητικά του Astrous. Το μόνο που με αποξένωσε από τον ήχο τους είναι τα progressive back vocals, τα οποία δεν εναρμονίζονται με τις μελωδικές κιθάρες και το σκληρό (και μερικές φορές ατμοσφαιρικό αλλά και hardcore) αποτέλεσμα.

Η δεύτερη πλευρά του "A Parallel Zoetrope" δίνει τη σκυτάλη στους Satanochio, ένα avant-garde black metal σχήμα από τη γειτονική Ρουμανία. Η διαφορά ήχου των δυο συγκροτημάτων είναι σαφώς τεράστια, αν και έχουν αρκετά κοινά στοιχεία μεταξύ τους. Αυτό που απεχθάνομαι στο συγκεκριμένο κομμάτι είναι τα φωνητικά του Mr. S. Όσες φορές και να το άκουσα, σκέφτηκα ακόμα να πέσει κάτω ή να του κλείσει ο λαιμός;
Τέλος, το artwork του δίσκου είναι εντυπωσιακό και μακάρι να υπήρχαν περισσότερα καινούρια κομμάτια, τόσο από τους Aenaon, όσο και από τους Satanochio. Πολλά μπράβο στους Λαρισαίους που πάντρεψαν ένδοξα το old school black metal, με τον μοντέρνο ήχο. Περιμένω με ανυπομονησία την πρώτη ολοκληρωμένη δουλειά τους!

A 7’’ split, two bands, and 500 copies worldwide. The one vinyl’s side belongs to Aenaon that present to us a new track after “Phenomenon” EP which was a reason to earn a lot of black metal funs. “I, Tyrant” is starting dynamically with a classic black metal tempo and from the first moment Astrous’ vocals win out the impressions. The only thing that I didn’t feel right in their sound  is their progressive backing vocals which didn’t seem to match harmonically with their melodic guitars and their hard (sometimes atmospheric other times hardcore) result.

The second side of  “A Parallel Zoetrope” triggers Satanochio, an avantgarde black metal band from our neighbor country Romania. The difference in their sound among the two bands is quite huge but you can find common elements. What I really don’t like in this particular track are the Mr.S’ vocals. No matter how times I listen to it I still can’t stand it.    Finaly, the artwork of the vinyl is very impressive and I really hoped for more new tracks, from Aenaon and from Satanochio too. Congratulations to Aenaon who managed to combine glorious old school black metal with such modern sounds. I am looking forward their first full length album!  


Projekt Fish Tank (Gr) - 01/01/2010

Η αφετηρία αυτού του split είναι το black metal, και αν κάνουμε μια ελεύθερη μετάφραση στον τίτλο, περιμένουμε ν’ ακούσουμε δύο διαφορετικές εκφάνσεις του συγκεκριμένου ήχου. 
Οι δικοί μας Aenaon συνεχίζουν από κει που σταμάτησαν με το "Phenomenon" ep και εξακολουθούν να έχουν νεωτεριστικές τάσεις. Το "I, Tyrant" είναι ένα ραφιναρισμένο (ηχητικά) κομμάτι, ρυθμικό, το οποίο καταφέρνει να δημιουργήσει ένα περισσότερο επικό, παρά σκοτεινό ή evil συναίσθημα. Η χρήση των πλήκτρων είναι διακριτική αλλά ουσιαστική για τον ήχο της μπάντας, και μαζί με την προσθήκη μερικών παραπάνω καθαρών φωνητικών, είναι θα μπορούσαμε να πούμε η λεπτομέρεια που κάνει τη διαφορά και ενισχύει συνθετικά το κομμάτι. Έχοντας υπόψιν το πρόσφατο παρελθόν της μπάντας, είναι προφανές πως οι Aenaon αντλούν τις επιρροές και την έμπνευσή τους από το "intelligent" κομμάτι του black metal: η κιθαριστική τεχνική παραπέμπει στους Emperor & Zyklon-B, ενώ το groove στους (όχι πολύ παλιούς) Satyricon. Ο συνδυασμός είναι ομολογουμένως ενδιαφέρων και η μπάντα δείχνει φουλ ορεξάτη για παραπάνω πράγματα. 
Οι Ρουμάνοι Satanochio απ’ την άλλη, πιο σάπιοι στον ήχο και πιο κάφροι στο παίξιμο, παρουσιάζουν ένα πιο παραδοσιακό κομμάτι, χωρίς πολλούς πειραματισμούς (πέρα από μερικά δυσαρμονικά riffs) και απόλυτα βασιζόμενο στα παραδοσιακά metal όργανα, τα οποία χειρίζονται και πολύ καλά μάλιστα (ωραία η δουλειά στο μπάσο, πραγματικά). Είναι και αυτοί ρυθμικοί, αλλά με πιο thrash τρόπο, ενώ η ατμόσφαιρα που χτίζουν είναι αρκετά υποβλητική κι αυτό κυρίως επειδή έχουν έναν ωραίο τραγουδιστή που οι κραυγές του είναι δαιμονικές και βρωμάνε απόγνωση. Το "Crimson Grim" είναι ένα σωστό κομμάτι και εμένα τουλάχιστον με έκανε να θέλω να ψάξω παραπάνω τη μπάντα, η οποία αποδείχθηκε δραστήρια άνω του αναμενόμενου. 
Δύο παράλληλοι δρόμοι που οδηγούν στον ίδιο μαύρο προορισμό λοιπόν, άρα δεν υπάρχει λόγος να μιλήσουμε για το ποιος υπερέχει ή όχι, ο καθένας διαλέγει ανάλογα τα γούστα του. Συνολικά μιλάμε για ένα προσεγμένο και αξιόλογο 7άρι, με δύο πολύ ενδιαφέρουσες συμμετοχές. Αναμένουμε περισσότερο υλικό και απ’ τις δύο μπάντες!

The starting point of this split is black metal and if we can have a free translation of the title, we are expecting to two different manifestations of the specific sound. Our AENAON continue from where they were left with “Phenomenon” ep and they still have modern trends. “I, Tyrant” is in a more epic rather than dark or evil emotion. The use of keyboards is discreet but essential for the band’s sound, and as well with the addition of some extra clean vocals is the fact that makes the difference and boosts the song. As far as synthesis is concerned having in mind the background of the group it’s obvious that Aenaon draw their influence from the “intelligent” black metal scene. Guitar technique refers to Emperor &Zyklon-B, while the groove to not so old Satyricon. The combination is admittedly interesting and the band is eager for more things. The Romanian Satanochio on the other hand, who are more “rotten” as far as the sound is concerned & and more savage in their playing, present a more traditional song, without much experimentation (besides some dissonant riffs) and completely based in traditional metal  instruments, which they make use of. Actually they do very good work with the bass. They have a rhythm but in a more thrash way, which the atmosphere they are creating is evocative and that is because they have a nice singer whose screams sound demonic and full of despair. Crimson Grim is a song that made me look for more information about the group, which proved to be very active. Two roads which lead to the same black destination, therefore there is no reason to mention who is at an advantage and who isn’t, just choose according to your taste. All in all we are talking about a remarkable 7’ vinyl with two very interesting participations. We are looking forward for more from both bands!


Absolute Zero Magazine (Us) - 01/01/2009

Aenaon is a mix of 2 worlds in the extreme metal sound they like to mix the post black metal sound of bands like Arcturus, Ihsahn and DHG with the sounds of old school black metal like Satyricon, Dark throne and Thorns.  Then they like to sci fi the sound up a bit with the way the drums and guitars are produced on the release. They come closest to where I see bands like Code and Marduk are these day. If you like your black metal with a modern twist and a strong love a death metal then this will make you smile for days on end . If not this will be one long journey not to take my friends. I wonder where this band will go as this is just a short MCD .  If Aenanon stay on this path they may be the next Satyricon in sound and fan base. Very impressed here…


Alone Music (Ita) 8/10 - 01/01/2009

Potenza devastante e sinfonia mistica sorreggono le colonne degli Aenaon, band devota alla nera fiamma con sprazzi di pura sperimentazione, targata, udite udite, Grecia! Un lavoro che da ottimi spunti di riflessione, ottime idee, ottimo sound, particolari e non tedianti, insomma davvero una band da ascoltare…tutto questo racchiuso in Phenomenon. Atmosfere apocalittiche sanciscono l’intro con Et In Arcadia Eco, mistica e spettrale con cori gregoriani, ugole liriche e inquietanti, vociare intenso quasi come se si stesse recitando un’antica malia, un antico manoscritto…ma ecco sopraggiungere vorticose asce, pungenti e dilanianti, rapide e taglienti solcano lo scream ed il blast beat plasmandoPerdition : A New Era, riff decisamente perfetti, maniacalmente feroci, da paura! The Virus Code sancisce un misto di Black e Death, un bel connubio che non guasta certamente, anzi essendo molto ben curato e legato, riesce a stuzzicare e a piacere, questi ragazzi hanno davvero colto il segno...scapocciamento pazzesco, ecco cosa viene fuori da quest’album a primo acchito, è il caso di And Chaos...Enthroned, martellante e furiosa, cupa e tenebrosa al punto giusto, ma ciò che colpisce è la frenesia delle chitarre, distorte all’ennesima potenza, roba da sclero e fumo dalle mani! Navel spiana la strada al devasto, black puro, intenso, deciso, così come deve esser, senza fronzoli o perdite di tempo, battagliera, davvero particolare...sicuramente di grande risalto il giro di basso nel mezzo di song, che viene controllato dalla potenza assurda delle 6 corde pungenti. Quest’album davvero interessante chiude i battenti con Extradimensional Wall riprendendo a grandi linee la tensione e l’atmosfera impressa in Et In Arcadia Eco.    Emozione e ottime sensazioni. Complimenti!  

Devastating Power and mystic symphonies upbear Aenaon's columns, a band addicted to the black flame with a vein of pure experimentation. All of this, from Greece! This effort has many good ideas. The sound is impressive, original and never boring. In a word: you have to listen to it... All of this is Penomenon. Apokalyptic atmospheres give the pace in the Et In Arcadia Eco intro. Mystic and spectral are the gregorian choirs. Deep vocaling of ancient scriptures... but suddenly there come vorticating axes, shining and blazing like the scream and the blast beat of Perdition: A New Era. Perfec riffs, extremely aggressive. What a scare! The Virus Code envelopes a combination of Black and Death. Pretty good marriage, well assessed. It strikes! Anothere extreme experience is And Chaos... Enthroned. Hammering with hate, dark and gloomy as it needs, with mad guitar lines, overdriven to the limit! You can see his hands smooking! Navel is a pure devastating caterpillar. Straight black, no compromise yet expressive, as it should be. No fineries or time wasted. Truly particular... Remarkable is the bass line in the middle of the song, handled with such the energy of 6 kicking strings. This incredibly interesting album fires you with Extradimensiona Wall, recalling the greatness and tension of In Arcadia Eco atmosphere.    Emotion and good feeling. Congratulations!


Amboss Magazine (De) - 01/01/2009

Das Mini-Album von AENAON wird in anderen Webzines ganz schön hochgelobt. Die Griechen bieten uns einen musikalisch anspruchsvollen Mix aus Black und Death. Das ganze ist ordentlich produziert und professionell verpackt, kann mich aber dennoch nicht überzeugen, da ich überall, im Look der Band, im Layout und vor allem Im Sound und den Songstrukturen zu sehr an Zyklon erinnert werde. Die Band und die Platte sind keinesfalls schlecht und werden auch sicherlich ihre Freunde und Verehrer finden, kann aber wie gesagt wegen der auffälligen Nähe zu Zyklon bei mir nicht punkten. Testet es lieber selbst! 

The mini album of Aenaon is praised from other webzines. The Greeks offer a mix of high quality music of Black and Death. The whole album has produced correctly and packaged professionally, however it can’t convinced me, because everything at band’s image, layout and mostly at the sound and structure of songs, reminds me a lot of Zyklon. The band and their album it’s not in any case bad and sure will find friends and fans, but because the striking similarities with Zyklon, I will not be one of them. Check out by yourselves!


Avantgarde Metal (De) - 01/01/2009

This mini-album received quite a lot of praise since its release and in fact AENAON from Greece demonstrate a more than solid potential with their skill- and powerful interpretation of modern Norwegian extreme metal. Norwegian? Yes, the south European quintet (nowadays quartet) doesn’t hide its influences of post-anthem Emperor and the likes – but maybe within that detail is the devil… Nothing extraordinarily bad can be written about this recording in a balanced review: okay, the production lacks some fundamental power and is not on the same quality level as the music, but all songs offer a nice collection of riffs, a strong rhythm section, graspable vokills and good arrangements, on top the fourth song "Navel” is a small hit with its catchy melody line and the combination of fierce and clean vocals. Without doubt a song strong like this would add some quality to most of the free magazine samplers, which means nothing else that AENAON are able to place themselves above "standard extreme metal" paradoxity.   I can only recommend to go further in that direction – and to take over the conceptual criticism on the own musical agenda. AENAON cite Democritus, Pythagoras, Heraclitus, and in this context they state that "defying the knowledge that was offered to us by certain individuals, men chose to follow lies, created by jealousy”. That’s an idea which offers much room for exploration, hopefully as well in regard to the music, because if anything is yet missing, it’s something which makes "Phenomenon” really outstanding. With their debut the Greek have drawn a bow from the ancient philosophy on their local doorstep to nowadays metal, the question is how far and where they will shoot their arrows next time?  


Bloodcult (Gr) - 01/01/2009

Οι Αenaon  είναι μια πολύ ελκυστική περίπτωση. Στις τάξεις τους έχουν άτομα που έχουν περάσει από αρκετές Ελληνικές μπάντες όπως ο Αstrous - vocals,lyrics(ex-Black Winter, Majeste Simphonia), Dagwn –guitars (Nethescerial, Sacramental Ceremony), Vanghmar - drums(ex-Enshrine, ex-Obsecration, Souless, Soulskiner-session). Το “phenomenon” δε θα μπορούσε παρά να είναι μια πολύ προσεγμένη δουλειά που περιέχει 6 raw intelligent black metal tracks με πολλές ταχύτητες και φοβερά φωνητικά. Πολύ έμφαση στα riffs που είναι άκρως επιθετικά, αλλά και στις εφιαλτικές ατμόσφαιρες και περάσματα. Καλύτερη στιγμή το “Navel”. “Excessive black metal” ονομάζουν τον ήχο τους. Δεν ξέρω εάν ταιριάζει η ταμπέλα αλλά σίγουρα θα ταιριάξει στο γούστο σας το εν λόγω EP μιας και είναι ένα δείγμα πως η μπάντα δουλεύει σοβαρά και βγάζει σεβαστό και ποιοτικό αποτέλεσμα. Τους παρακολουθώ από τότε που ο Astrous ανέλαβε τα φωνητικά και ομολογώ πως η εξέλιξή τους από τότε και ύστερα είναι αλματώδης. Συγχαρητήρια για τα κομμάτια λοιπόν, αναμένουμε σύντομα την πρώτη full-length κυκλοφορία τους.

Αenaon are a very attractive case. They have recruited people who have taken part in many Greek bands like Astrous-vocals (ex-Black Winter, Majeste Symphonia), Dagwn-guitars (Nethescerial, Sacramental Ceremony), Vanghmar-drums (ex-Enshrine, ex-Obsecration, Souless, Soulskiner-session). ”Phenomenon” couldn’t be but a remarkable work which contains 6 raw intelligent black metal tracks with exelent vocals.  There’s been emphasis on the riffs which are rather aggressive as well as the nightmare atmosphere. Best of all “Navel”. They call their sound “Excessive Black Metal” I don’t know if that characterizes their sound but it will definitely suit your taste as this is only a sample of a band which works seriously and has respectably quality result. I’ve been following them since Astrous took over the vocals. I must confess that the progress has been rapid since then. Congratulations on their new songs and we are looking forward to their first full-length release as soon as possible.


Corazine (Be) - 01/01/2009

A first glance at Aenaon’s package makes me think of Axamenta’s magnificent Ever-Arch-I-Tech-Ture cover art and themes: a salmagundi of whiteness, science and fiction. Throughout the intro, I was getting convinced that “Phenomenon” was going to be a doppelgänger of the aforementioned album. Not that I was going to bash Aenaon for it (listen to Axamenta’s last and you’ll know why), but “Phenomenon” is musically quite different… So let’s ditch the comparison, shall we? After hearing the few tracks (really, there are only a few), I can make a new comparison, although it’s not as striking as the first one. Perhaps not as accurate either, but it’s been a long time since I’ve listened to Zyklon. Aenaon isn’t quite a dead ringer for them, but the general attitude is heavily reminiscent of Zyklon’s slaughtering rabidity. Harsh and seemingly toneless screams accompany propelling, crazily twisting riffs, and that’s all there seems – and is – to it. There lies little hidden in subtle layers or complex patterns, because there are none. On the other hand, the transparant style lends full authority to the imposing riffs, and the appropiate use of atmospheric licks and leads adds a great deal to the otherwise sturdy songs. The album, with a mere 25 minutes length, gives a solid representation of Aenaon’s skills and intent. The band’s only job now is ensuring a consolidating follow-up.


E-Rock (Gr) 96/100 - 01/01/2009

Να 'μαστε...! Και κατά πως φαίνεται έφτασε η ώρα να κατατεθούν ορισμένες σκέψεις. O.k. - o.k. γράφουμε εδώ και τόσα χρόνια και τι δεν γράφουμε, απ' όποιο μετερίζι κι αν μας έλαχε, για το ελληνικό black metal τα πλείστα όσα και με πικρία μου διαπιστώνω, ότι σχεδόν είκοσι ολάκερα χρόνια σ' αυτήν τη σκηνή μονοπωλούν οι ίδιοι και οι ίδιοι.
Δεν λέω, ηγετικές και συνάμα θρυλίκες οι μορφές των Necroabyssious, Necromayhem, Magus Wampyr Daoloth, Necrosauron, Gore, Tristessa κ.α., αλλά από εκεί και πέρα τί...; Το χάος. Και όλοι οι παραπάνω, εάν ερωτηθούν, την ίδια απάντηση θα δώσουν, με την ίδια μάλιστα πικρία.
Πάμε όμως να δούμε, γιατί κι αυτό είναι που έχει την μεγαλύτερη σημασία, τι στην ευχή είναι αυτό το "Phenomenon".
Εδώ, οι Zyklon συναντούν τους Emperor, οι Behemoth τους Satyricon και όλοι μαζί παρέα τους παιδικούς μας ήρωες, τους greek metal heroes. Κι όμως, ποτέ άλλοτε ένα ελληνικό black metal συγκρότημα -δημιουργημένο τουλάχιστον μετά το 1995- δεν κατόρθωσε την διαφοροποίηση. Τούτοι εδώ γνωρίζουν πολύ καλά τι εστί μαύρο μέταλλο, ίσως γιατί ορισμένοι από αυτούς μαθήτευσαν πλάι στους "μεγάλους" της σκηνής μας. Ίσως και γιατί πολύ απλά το έχουν, όπως ο χαρισματικός τραγουδιστής τους. Προσωπικά, τον θυμάμαι να το παλεύει από τόσος δα πιτσιρίκος και τελικά τ' απέδειξε, είναι μία από τις καλύτερες φωνές που γνώρισε ποτέ το ιδίωμα.
Ένα βασισμένο στην διαφορετικότητα των ακουσμάτων μας soundtrack, αποτελούμενο από 6 συνολικά συνθέσεις, που κάθε γνήσιος μαυρομεταλλάς θα ήθελε να βιώσει σε κάθε έκφανση της ζωής του. Και στη χαρά και στη λύπη. Και στο σέξ και στην χυλόπιτα. Μην γελάτε, δεν αστειεύομαι, όπως και τούτοι εδώ οι τύποι. Οι Aenaon ήρθαν για να διαλύσουν τα πάντα στο πέρασμά τους κι αν αντέξουν και δεν διαλύσουν, σε λίγα χρόνια θα 'χουν γράψει και μόνον με αυτήν τους την κυκλοφορία, αυτού του μοναδικού EP, με χρυσά γράμματα το όνομά τους στην μαύρη βίβλο της αγαπημένης μας γυνής..., της μουσικής.
Όσοι metalheads, όχι αποκλειστικά μαύροι, σέβεστε τα ώτα και τον εαυτό σας, καλή ακρόαση να έχετε.
Υ.Γ.: Λίγη υπομονή μονάχα, γιατί η καναδικών συμφερόντων Bleak Art Records μέχρι πρότινος δεν διανέμονταν στην Ελλάδα. Στο πρόβλημα, ενόσω μαθαίνουμε, την λύση έδωσαν οι συνήθεις ύποπτοι, τους οποίους και ευχαριστούμε ιδιαίτερα... Έτσι, σε λίγες εβδομάδες το εν λόγω πόνημα θα κυκλοφορεί και στην ελληνική αγορά.


Electric Requiem (Gr) - 01/01/2009

Οι Aenaon είναι από τη Λάρισα και όλο και κάπου θα τους έχει πάρει το μάτι σας. Το EP τους “Phenomenon” κυκλοφορεί ή θα κυκλοφορήσει από την Bleak art records.
Οι Aenaon είναι επηρεασμένοι φανερά από τη νορβηγική σκηνή και συγκεκριμένα αποτελούν ένα κράμα των “Volcano” Satyricon, των Zyklon, των “IX Equilibrium”Emperor και των Dimmu Borgir. Μην μείνετε στα δυο τελευταία και φανταστείτε πλήκτρα, καθώς οι Aenaon είναι πιο primitive και αισθητά γρήγοροι και τραχείς. Το “Perdition: A new era” μ’αρεσε πιο πολύ ακόμα, καθώς ένα σημείο του μοιάζει με αυτό του “Deliverance” των Cadaver inc, που το ξανάπαιξαν οι 1349 στο “Helfire”.
Όλα ωραία λοιπόν με τους extra πόντους να πηγαίνουν στο πιο βιομηχανικό (δε θα πω thorn-ατο) “extradimensional wall”.To EP των Aenaon είναι μια κυκλοφορία που στα σίγουρα θα ευχαριστήσει ένα ικανοποιητικό μέρος του κοινού και αυτό είναι όσο να ‘ναι ενθαρρυντικό. Το εξώφυλλο είναι ταιριαστό με το concept τους (όσο το έχω πιάσει χωρίς στίχους), αλλά αυτά τα ολοκληρώματα με βάλανε σε δυσάρεστες σκέψεις “επί πτυχίο”, εξεταστικής και τέλος Φεβρουαρίου. Χαρίστε ευκαιρία πάντως στο “Phenomenon” ενδέχεται να γίνετε καλοί φίλοι.

Aenaon are from the city of Larisa and I am sure you’ve seen them before. Their EP “Phenomenon” is out by Bleak Art Records.  Aenaon are Obviously influenced from the Norwegian scene and especially a mixture of “Volcano” Satyricon, Zyklon, IX Equillibrium, Emperor and DimmuBorgir. Don’t just stay with the last two and imagine the keyboards Aenaon are more primitive & noticeably fast and wrath. I liked “Perdition: A new Era” a lot because a part of it is is similar to “Deliverance” of Cadaver Inc, which was played by 1349 in Hellfire. So far all good and they deserve some extra points for biomechanical (i shouldn't say Thorn-ish) "Extradimensioal Wall". Aenaon’s EP is a release which definitely satisfiy a big part of the listeners and this of course is very encouraging. The cover underlines the concept. Their music have made me have “bad” thoughts while I am currently having exams for my diploma. Give a chance to Phenomenon and you’re bound to become good friends.


Elitarian Music (Ita) 8/10 - 01/01/2009

Finally! After a wait that seemed neverending, Hellenic death/blacksters Aenaon storm into the extreme metal scene with this promising – to say the least – six tracks Ep which is likely to impose their presence within european death/black metal gotha. Phenomenon kicks off with Et in Arcadia Ego, an intro deviously presenting industrial reminiscences, wrapped up with a nicely obscure post-nuclear atmosphere that makes it the ideal prelude to the merciless sonic onslaught of Perdition, a New Era, which shows instead the real intentions of the greek five-piece: annihilating, mid to fast-paced, in-your-face death/black metal along the (deadly) lines of Zyklon (Perdition, A New Era itself), Behemoth, Emperor (Navel) and the latest works of Dødheimsgard (Extradimensional Wall). These guys seem to have learnt to perfection the lessons from the Masters, skillfully combining violence, technicality and a really lively and inspired songwriting; Vanghmar’s tight and pitiless drumming doesn’t allow a single moment of respite, while Draugen and Achilles draw out one riff after another and Astrous’ poisonous vocal lines embitter it all with a biting (rather than guttural) growl. The production also is worthy of praise on its own, for it’s modern and crystal clear enough to emphasize the fury and aggressiveness of the songs without being over polished and killing their heaviness. It’s impossible to pick a hypotetical best track, because it truly seems that the same care has been reserved to each and every episode of the tracklist during the songwriting, so the whole length flows wonderfully well without any dead spot. A lethal concentrate of unheard-of ferocity: phenomenal… indeed. Let’s now hope we won’t have to wait as much for the debut album!


Forbidden Magazine (Us) - 01/01/2009

Greece’s Aenaon debut with ‘Phenomenom”; a 6 track display of muscle, musicianship and lavish metal landscapes.  Featuring a clean production that compliments their technical and intense style, ‘Phenomenon’ contains a multitude of sounds and textures that will keep the listener engaged for the album’s duration. ‘Phenomenon’ opens and closes with tracks that utilize a more ‘electronic’ or ‘industrial’ sound to create their mood. The lush keyboard pads intermingled with melodic female vocals over the top of sampled drums and sound patterns makes for a convincing and interesting set of bookends for the album.  While I typically find intros and outros of such short duration annoying and irrelevant on EP releases such as these, the two tracks in question, ‘Et In Arcadia Ego’ and ‘Extradimensional Wall’, do a damn fine job of opening and closing a punishing and well written group of songs.   The opening track, ‘Perdition: A New Era’, is  a furious, 6 minute hellride through the art and science of aural alchemy that gives the listener little time to recover from the unrelenting assault.  The chaos continues with ‘The Virus Code’, laying waste with the tight-as-fuck guitar work grinding over the battery of blasting drum detonations.  ’And Chaos…Enthroned’ is another fine example of Aenaon’s ability to work a song from one good idea into several other great ideas…the riffs and passages flow seamlessly from one to the other without losing integrity or direction. While I may be jaded with over-produced music that sounds too good to be true, I find that this album’s outstanding sound quality is an excellent compliment to the level of musicianship that is heard without being intrusive upon the art itself.   The lyrical content of Aenaon’s ‘Phenomenon’ deals heavily with mathematics, quantum theories and existentialism on a cosmic scale; a suitable marriage with that of the musical content.  The sound is as large as is the depth of the subject matter.  I can’t help of thinking of the O.T.O. and the motto, ‘the Method of Science…the Aim of Religion’ when listening to this album and reading the included lyric book. It seems that Aenaon has tapped into the raw stuff of universal creation and produced ‘Phenomenon’. Although it may fans more than one listen to wrap their head around this complex work it will only take a brief moment to notice that the force of Aenaon is omnipotent.    


Funeral March (Se) - 01/01/2009

It starts with a very nice intro, beautiful sounds combined with "mechanic" sounds. It gives me the feeling that this will be something rather complex and industrial. It is truly a really nice intro! The intro doesn't fool you very much here, the music feels rather complex and some touches of the industrial sound is also there. This is not music that you just can sit down and listen to one time and then judge, it takes a couple of times before really getting into it. The sound is quite raw but it still feels rather "polished" (in a good way), it feels like there is thought and time behind this six track long record. I think that every song is very strong and the material overall is very strong. It is extraordinary well performed and the structure of the songs are very nice. Very few records makes me get the feeling I get now, it is a depth in the music that I really can't describe. To truly understand you have to listen to it yourself. I really recommend this album if you want something different, something rather complex. This music is in my opinion excellent. It is all very well performed and the songs are really interesting to listen to. As close to a masterpiece you can get!


Global Domination (Se) 7.5/10 - 01/01/2009

Aenaon is Greek for eternal, or “that which lasts forever”. In Finnish “Aina on” (or “aena on” in an Eastern, Savo accent) means “always is”. I’m thinking linguists have missed a connection here. What the fuck this has to do with the music is beyond anyone. Even me. In any fucken case, our Mediterranean heroes have unleashed their first release, an EP titled “Phenomenon”. Formed in 2005, Aenaon spurt out some chaotic black/death metal that nods heavily in the Emperor direction, though we’re absolutely not talking about a clone here. Disharmonic, disquiet and distressed guitar riffs with lots of tremolo picking carry the workload, with the drumming supporting the string attacks in the same uneasy manner. A few moodier passages, some harmonic melodies and the odd thrashier riff bring a little diversity to the table, but it’s quite clear what Aenaon are after. Technicality and progressiveness are found aplenty, and their vision is quite clear. It’s refreshing to hear a band’s first release and see that they’ve already found their style and know how to express their vision through their instruments and throats.   Speaking of juguli; Astrous, the vocalist, appears also to sport some Ihsahn fandom. His mid- to high-pitched rasps and shrieks remind a lot of the genius’ from Notodden oral output, though meatier and less nasal Asstrous’ growls be. Multi-layered beyond my immediate liking, the vocal department is still very good, though he can work on his pronunciation for more points from me. The other musicians pull off their stuff very nicely indeed, and that is absolutely elemental when playing this kind of thick, demanding and entropic maze of metal music.   The production on “Phenomenon” is OK but has some flaws, especially at first listen. You can hear everything clearly, which is a plus; but the guitars are little too middle-y which makes them sound muffled and they become just a little bit too loud in the mix at times. The bass is audible, which deserves another nod of approval, but I don’t care that much for the drum sound, which is very sterile and quite triggered. The snare is too fore-front in fast passages and the ride cymbal also jumps out of the speakers like an angry pixie. The overall sound picture is functional, though, and you get used to it after a while so the production doesn’t drag down the music. Too much.   Overall this is a very interesting debut release, and I’ll surely check out Aenaon’s coming releases. Chaos-inspired lyrics that remind me of Arcturus’ interstellar writings complete Aenaon’s enigmatic puzzle with even more loose ends:   Where time is but a loop, a loose stitch in the Universal Cloth, a Streamer might seize upon a chance, a fatal slip, and plunge the fate of planets into chaos… Then, a shivering light will appear through the shrunken cosmic dust, and explode into an extradimensional wall, respawning the ultimate Universe…    


Heavy Hardes (De) - 01/01/2009

Aus Griechenland kommt nicht nur Gyros und Ouzo, sondern auch die ein oder andere faszinierende Düster- oder Black Metal-Kapelle, die handwerklich kompetent mit feinen Alben überzeugen. Thou Art Lord, Astarte oder Rotting Christ sind nur einige Beispiele, und der langen Reihe an Bands gesellen sich nun die 2005 gegründeten Aenaon hinzu, die mit der MCD Phenomenon debütieren und oben genannten Bands qualitativ in nichts nachsteheen. Aenaon spielen anspruchsvollen Black Metal der gleich zu Beginn mit sauberer, druckvoller aber nicht übertriebener Produktion punkten kann. Die Songs an sich begeistern dann durch Intensität und Dynamik. Sehr stimmungsvoll kloppen sich Aenaon durch die fünf Tracks (plus In- und Outro), setzen hierzu ab und an diverse Klangkollagen vom Keyboard ein und legen dabei nicht nur ausgesprochene Spielfreude zutage sondern auch einen ganzen Batzen an technischen Fähigkeiten. Nein, langweilig wird es hier nicht und mit simplem Drei-Akkord-Geschrubbe haben Aenaon auch nichts am Hut, stattdessen setzt das Quintett im Gitarrenbereich auf technisches und rasantes Auftreten, das seine Fortsetzung bzw. Ergänzung im sowohl im Schlagzeug- als auch im Bassbereich findet. Vor allem in schnellen Geschwindigkeitsregionen fühlen sich Aenaeon sehr wohl, wissen aber durch ausgefeiltes Songwriting eventuell aufkeimende Langeweile sofort im Keim zu ersticken. Aber nicht nur Technik ist bei den Hellenen Trumpf, sondern auch Melodie, die sich aber fernab jeglichen Kitsches ala Dimmu Borgir oder Cradle Of Filth bewegt. Auch textlich beschreiten Aenaon ganz eigene Wege, denn die Jungs schreiben lieber über Wissenschaft und Technik, anstatt irgendwelche stupiden Christen-Bash-Ergüsse.   Aenaon legen mit Phenomenon ein beeindruckendes Debüt vor, das wohl nicht nur in schwarzmetallischen Kreise für Aufmerksamkeit sorgen wird. Allen Fans von Emperor über Behemoth zu Old Man's Child seien Aenaon und Phenomenon ans Herz gelegt.    

In Greece, there are not only gyros and ouzo, but also some fascinating, talented Dark- and Black Metal bands convincing with fine albums. THOU ART LORD, ASTARTE or ROTTING CHRIST are only some of them. And in the long list of these bands there are also AENAON that were founded back in 2005. Their debut MCD „Phenomenon“ doesn´t show less quality. AENAON play ambitious Black Metal with a clean, powerful, but not exaggerated production. The songs convince the listener with itensity and drive. AENAON smash themselves impressively through these five tracks (including intro and outro). Sometimes they surprise with different sound landscapes by keyboards, so they do not only show enthusiasm, but also a lot of technical abilities. No, they never get boring! AENAON don´t have anything to do with some lousy three-chord-roughness. The quintet have technical and fast guitars as well as bass and drums. AENAON mostly are into fast uptempo passages. But they are also always able to drown upcoming boredom. These Hellenic guys are not only into technical skills, but also into great melodies, far away from the cheesy likes of DIMMU BORGIR or CRADLE OF FILTH. Also lyrically, AENAON have their own special way concerning scholarship and technique instead of some stupid Christian stuff. AENAON present us an awesome debut with „Phenomenon“ which will definitely wake a lot of interest in the Black Metal scene. All fans of EMPEROR, BEHEMOTH or OLD MAN´S CHILD should check out AENAON´s „Phenomenon“.


Hellbound (Ca) 6.5/10 - 01/01/2009

A word of warning, dear readers: the production on Aenaon’s debut EP does the exact opposite of what any band intends, compelling the listener to turn the music down, not up. This is some of the shrillest stuff I’ve heard since seeing Metal Church play a painfully treble-overloaded set in 1986. The Greek band might be going for something “futuristic” or “cutting edge” for all we know, but with the incredibly thin guitar tone, the barely audible bass, and the triggered drums mastered as loud as possible (as is the trend), it borders on overkill. That said, make sure you turn this CD down and not off, because once you get past the rather dicey production, Aenaon’s undeniable talent quickly wins you over. Phenomenon is bound to please fans of all things Emperor, including Ihsahn and Zyklon, a very well-executed blackened death metal hybrid that’s in and out in less than half an hour. These guys know economy, as there’s nary a wasted second on these tracks, each one concise and unrelenting, technically proficient but willing to allow textured solos and melodic riffs to rise to the surface rather than be buried under non-stop blasting. As a result, we’re privy to some exceptionally promising material, such as “And…Chaos Enthroned”, “The Virus Code”, and the wickedly good, Dødheimsgard-tinged “Navel” (a song about the centre of the Earth, not belly buttons). A good first effort, but with a great producer this band could really turn heads.  


Hellenic Metal (De) - 01/01/2009

Aenaon exists since 2005 and the Phenomenon EP is the first output. It was released in 2008 by the band for promotional reasons and will be released again this year from Canadian label Bleak Art Records. It’s not a miracle that the band found a label in a very short time. Phenomenon may be the debut release, but it is far away from an amateurish demo.  The EP begins and ends with majestic, industrialized keyboard samples, but in- and outro are the only tracks where the keyboard plays a dominant role. The four tracks within unleash pure Black/Death Metal fury with lots of blastbeat, but also with the needed slower parts as antipode to the furious slaughter. The guitar work is one of the main characteristics of the EP, the playing of Draugen and Achilles (Varathron, now replaced by Dagwn of Nethescerial) is fast and complex at the same time, with lots of riff changes, very Death Metal-like. Well done! With Astrous (ex-Black Winter) on vocals, Aenaon managed to grab one of the best vocal talents of the new Greek Black Metal generation. The competent drumming is done by Vanghmar (ex-Obsecration). Production is more than satisfying, even the bass of Thyragon is hearable. I cannot pick a single highlight, as the whole EP is very professionally done. I also cannot categorize Aenaon so easily, sound and vocals tend more to Black Metal, but the guitar work and the drumming have a certain technical approach, like many Death Metal bands have. The Phenomenon EP is a very tight and focused release, which hopefully will spread the name of the band. If Aenaon continue with this intensity, we surely must expect some really great music in the future!


Infernal Masquerade (Us) 88/100 - 01/01/2009

After a very enticing intro, Aenaon does not waste any time in showing what they are made off. The second track opens furiously and shows the true beast hiding within the Aenaon moniker. You can clearly listen to the Zyklon, Emperor and Behemoth influences in this band. However, they are not just another clone of the previously mentioned bands. They just take all the best elements of them and fuse them with such grace that the 24 minutes that this EP presents will leave you with an extreme thirst for more.   “Phenomenon” is a great ‘calling card’ EP that will surely get this band a lot of attention, and maybe even a bigger label or distribution deal in the future. The band shows great potential in the 4 tracks that actually have music on this release. The intro does serve to create expectation but the outro song is just filler material.   Featuring furious guitars, fast-as-hell drumming and very strong vocals, you can’t ask for more. This young band has a great future and with their songwriting abilities, I’m sure they are probably writing their full-length debut as we type this (or so we hope). With the countless amounts of bands that surface these days, it’s becoming harder for bands like Aenaon (that are actually good) to be noticed.   The technical aspect of the band’s music is another thing that can’t be left un-noticed. Aenaon creates very intricate guitar melodies very similar to Emperor’s brilliant guitar work. The band’s lyrics apparently influenced by Chaos, Hate and Math Patterns, yes, you read right, Math seem to be the least of the concerns in these release, but we just find it ‘funny’ that you can claim to talk about these things together. We find some references to ‘real’ Math in the band’s lyrics, as well as some ‘fancy’ differential equations and integrals on the CD’s artwork. This is way more interesting than talking about Satan.   Overall, Aenaon does a great job with “Phenomenon” and leaves the bar very high for their next release, which we hope that it comes soon. If you are looking for a very solid, Emperor-sounding Black/Death Metal band, go and get this release from the band’s label website.      


Legacy (De) 11/15 - 01/01/2009

"The songs with their mostly high pace and their breaks [...] remind of late Naglfar with a progressive approach, which is throroughly meant as praise. AENAON plays with chaos and dominates it."


Metal (De) 8/10 - 01/01/2009

Rasanten, aufpolierten Prügel-Black-Metal mit infernalischer Attitüde gab es in den letzten Jahren zu Hauf. Man wurde förmlich überrannt von Bands, deren Sound wie eine seichte Mixtur aus schwedischem Black Metal der Marke DARK FUNERAL oder MARDUK sowie einer Prise US-Death Metal klang. Meist war dies gekoppelt an eine aalglatte Produktion, pseudo-technische Spielereien und peinlichste Lyrics, die in ihrer Sinnfreiheit wohl kryptisch anmuten sollten. Nun, so auf den allerersten Blick könnte man vorliegende EP der jungen griechischen Band AENAON in diese Kategorie einordnen. Dass sich hinter dem Titel "Phenomenon" jedoch ein ausgesprochen gutes Werk verbirgt, wird schnell deutlich. Denn die vier Griechen von AENAON bedienen sich erstklassiger Einflüsse sowie einer guten Portion Spielfreude. Geboten wird, in der Tat, ein guter Schuss schwedischer Black Metal, dazu eine reichliche Portion SATYRICON zu "Rebel Extravaganza"-Zeiten (besonders der Gesang lässt grüßen) sowie Anleihen aus dem Death Metal-Bereich. Schon der Opener "Perdition, A New Era" überzeugt mit seinen manischen Ausbrüchen und seinen vielen cleveren Wendungen auf ganzer Länge. Ebenfalls ausgesprochen erwähnenswert ist "And Chaos… Enthroned", wo Leads, wie sie DISSECTION zu ihren besten Zeiten aus dem Ärmel zauberten, mit einem fabelhaften Refrain zu einem berauschenden Ganzen verschmelzen. Großartig! Solches Fingerspitzengefühl findet man in dieser Kategorie selten. AENAON zeigen sich ausgesprochen variabel, stilgewandt und scheinen vom ihrem Stil eine ganz klare IdIdee zu haben, die sie konsequent und mit erstaunlicher Frische umsetzen. \"Warm anziehen\" ist wohl geboten, wenn AENAON ihr Deb

There was a lot of furious, polished, rough Black Metal with an infernal attitude during the last years. There were just too many of Swedish-sounding melodic bands in the veins of DARK FUNERAL or MARDUK as well as Black Metal with some US Death Metal influences in it. Mostly they also had a clear production, pseudo-technical playing and most ridiculous lyrics that should have sounded cryptically.  Well, from the first view, you could also put the EP by this young Greek band AENAON into this category. But it gets clear after a short time that the title „Phenomenon“ stands for good work instead because these four Greek guys show some really first-class influences and a lot of enthusiasm. You can find good Swedish-styled Black Metal indeed as well as a lot of SATYRICON´s “Rebel Extravaganza” (especially the vocals) and also some Death Metal influences. Already the opener "Perdition, A New Era" can convince with manic outbreaks and many clever changes the whole time. Also "And Chaos… Enthroned" should be mentioned here because leads like the ones of DISSECTION in their best times can often be found here as well as a fantastic refrain. Great!  So much feeling is not often found anymore in this category. AENAON show themselves very varied and seem to have a certain idea of their sound. Take care when AENAON unleash their debut upon us.


Metal Discovery (Uk) 8.5/10 - 01/01/2009

I have received the 6 track CD Phenomenon from Greek band Aenaon with some great anticipation as I have heard of this band before; and they come to you highly recommended. The music these guys make is in that well visited vein of fast, melodic riffery. Even the vocals are none too dissimilar to Shagrath on his best day. All in all these guys do not disappoint. Anyway, that is an impression of what they sound like; here is what the album is like. It’s very good, actually and, as a reviewer, it is exactly to my taste.  The songs on ‘Phenomenon’ are of the Dimmu Borgir school of song construction with elements of ‘In Sorte…’ in there for good measure but a technical competence that echoes Opeth also springs to mind. Blast beats and tempo changes abound but serve the songs well. They are not there for the sake of it and Aenaon certainly have a point to make. I'm biased towards the guitars (as a guitarist I naturally am); I’m impressed by the axemanship on display here. They are pin sharp and the razor edged tones are controlled well but the rest of the band are equally as well placed. In fact the bass player and drummer are very much in sync. I'm pleased to say they haven't spoiled the overall brutality of the record with the symphonic elements as other bands have as this would render them too close too Dimmu. There is enough distance to show a nod to the Norwegians but retain that all important individuality. Stand out tracks for me are ‘The Virus code’ and ‘And Chaos...Enthroned’. They blend well. The production of the CD is immaculate. An evocative cover and sleeve that has some very cool imagery. It is mixed well, all the sounds are good and the production/mastering is actually flawless. This is not your average black metal disc. All in all, it's a pity it's only 6 tracks long (although on my disc if you skip to track 27 you get an unusual hidden vocal bit?).


Metal Eagle (Gr) 8/10 - 01/01/2009

"They created one of the most powerful EP of the year in the wider black metal scene"


Metal Hammer (Gr) 8.5/10 - 01/01/2009

Το black metal τελικά χρειάζεται έναν ιδιαίτερο τρόπο παιξίματος και φυσικά να το νιώθεις βαθιά μέσα σου. Δεν είναι και η πιο εύκολη μουσική, ειδικά όταν αναφέρεσαι σε μπάντες όπως οι Emperor και Satyricon. Οι Λαρισινοί Aenaon όμως δεν αστειεύονται. Έχουν αφομοιώσει τα καλύτερα στοιχεία από τις 2 προαναφερθείσες μπάντες κι έχουν προσθέσει λίγη οξύτητα των Thorns, λίγη από την ιδιομορφία των Dodheimsgard, μια κουταλιά Morbid Angel (σε κάποια περάσματα και solos) και Dimmu Borgir μπαχαρικά. Το ιδιόμορφο αυτό ...πιάτο προσφέρει σιδηροδρομικά riffs, up-tempo ρυθμούς και, το πιο σημαντικό, πωρωτικό και ουσιώδες black metal χωρίς φανφάρες και ψευτο-γαρνιρίσματα. Είναι μόλις η πρώτη τους δουλειά της μπάντας, αλλά φαίνεται ότι είναι συνειδητοποιημένοι και δεν ψάχνουν τους δύσκολους δρόμους για να πετύχουν το καλό αποτέλεσμα. Τα πράγματα είναι κάτι παραπάνω από απλά: Pure fucking black metla armageddon.

Άσος στο μανίκι: Το ότι δεν έχουν καταφύγει στο γνωστό κι εύκολο μονοπάτι του «μπλιμπλικέ» black metal.
Προσοχή παίδες: Κρατήστε την οξύτητα και τη χολή που κρύβεται πίσω από τα riffs σας
Έχουν τα προσόντα για Champions League; «Μαυρίλα» στους αντιπάλους και πάμε!!

Black metal needs a particular way of playing and of course you must feel it.  It is not the easiest kind of music especially when you refer to Emperor &Satyricon. Aenaon from the city of Larisa are not kidding. They have absorded the best elements of the above mentioned bands and they have added a little sharpness of Thorns, a few characteristics of Dodheimsgard, a spoonful of Morbid Angel and some someDimmuBorgir spices.  This characteristic dish offers splendid riffs, up-tempo rythms and the most important of all, corrupt and essential black metal without much embellishment.  It’s only their first work and they seem to know what they are doing. They are not looking for difficult ways to accomplish a good result. Things are simple: Pure Fucking Black Metal Armageddon!

Ace in a sleeve: They haven’t resorted to the usual and easy way to black metal. Be careful guys: Keep your sharpness you hide in your riffs. They have the qualification for champion’s league!


Metal Perspective (Gr) 7.5/10 - 01/01/2009

"A Moonfog-ish, futuristic approach without any bastard outcome like industrial samples (rare use) and so on, its pure metal looming"


Metal Psalter (Us) - 01/01/2009

Aenaon is a black/death outfit from Greece that is described on the Metallum page as using “Chaos, hate, mathematical patterns” for some of its lyrical content. This is an interesting potpourri if ever I saw one. Honestly, the music just sounds like it’s some sort of math equation. It’s not necessarily bad at all; in fact, it’s quite good for the more technical-death-minded among us. It’s the groove-metal feel throughout that seems to keep my interest piqued. However, to be quite honest I’ve heard this very song and dance a few times already. This EP is a follow-up to the ’07 promo the band issued and it’s really not bad. It’s not amazing, but it’s not bad. You’re not going to flip quantum equations and rewrite obscure formulas after listening to this, but you’ll get a good black-death feel from the carousel of music that sounds a tad like Emperor in spots, though not nearly as atmospheric. For example, “The Virus Code” sounds like a black experiment that might otherwise sound dated from the Old Norwegian guard, but despite its obvious late-to-the-party feel it’s a good track. Vocalist Astrous (doesn’t anyone use their real names anymore?) seems to have taken a page from Ihsahn’s book with the raspy growling hiss delivery that is okay for the music style here if, once again, somewhat typical and anticipated.   “And…Chaos Enthroned” is a pretty exemplary track, providing ample sustenance for the band to be regarded as a possible candidate for future consideration. The only setback is that while Aenaon is a fine band for its genre, if you shake a tree a million bands of this type can fall on top of you at any given point. Therein lies the challenge for a reviewer. The music is above par throughout and deserves the credit for that very large plus, but when it comes to setting the bar higher than anticipated for any other band Aenaon might just as well be in that “Hey, they’re a good band, but…” category.    While I don’t feel ignoring this is necessarily advantageous because it is a good experience, rushing out to buy another Emperor clone, albeit a slight one, wouldn’t be on the top of my list either. Still, it’s a good effort, even if it has been done to death a million times and counting.     


Metal Pulse (Ca) 7/10 - 01/01/2009

Next on the list: Aenaon. A blackened death metal group hailing from Hellas, Greece. They were formed in 2005 and recorded their debut EP Phenomenon two years later after a seemingly endless search for a full line-up. Aenaon was picked up by Bleak Art Records and the EP was released in September of 2009. Phenomenon opens with “Et In Arcadia Ego”, a mystifying atmosphereic track utilizing keyboards and industrial elements bearing no resemblance to the rest of the album – it merely provides the prelude to chaos as “Perdition: A New Era” unleashes Aenaon’s true purpose. The band’s talents are clear in the onslaught which follows, a technical attack coupled with melodic guitar riffs and merciless drumming. It’s heavily influenced by Emperor and Zyklon (fans of either should take notice) and while this leaves me with the feeling I’ve heard this before, it’s still interesting and dynamic enough I haven’t turned it off after more than a few listens. They’ve already got a solid sound to work with and clear songwriting (with chaos/cosmos-inspired lyrics fuelling their music), now all they need is a solid production and they’re well on their way.


Metal Sound (Rs) - 01/01/2009

I am always more than willing to check out the new Greek troops since I consider their scene to be one of the best and most original in the entire history and I am facing here yet another band from their homeland’s seemingly endless line. Aenaon is quite young group, they were formed in 2005. and „Phenomenon“ is their first presentation to the scene. From the cosmic-like look of the booklet I concluded that this band is into more modern ways of the extreme, and I was not wrong.  The main similarity I could place here is later-day Emperor („IX Equilibrum“ era), Behemoth and Zyklon, meaning that Aenaon plays merciless Black / Death Metal with proggish song arrangements. Keyboards are also present to further enhance the spacey feeling, and as I have mentioned, the compositions are well varied with enough tempo changes so you won’t get bored, but I must mention that the overall tempo is mainly fast. My main complaint would be the production work, especially the sound of guitars is a bit thin for this kind of playing, but since Aenaon is still up and coming band I think that it can be overlooked. „Phenomenon“ shows a lot of promise and lovers of above mentioned hordes are well advised to keep an eye on Aenaon, since I woudn’t be surprised at all if they appear on some bigger label in the future.


Metal Temple (Gr) 7/10 - 01/01/2009

Quite a small country Greece it is; but, in terms of providing the merciful world with venomous quantities of relentless Black Metal, this country has offered some really bonecrushing slaughterers. The quintet of AENAON delivers its first steps through the self-financed Phenomenon EP, but I'm pretty sure these fiends of massacre won't have much of trouble in inking a deal in the near future. A mini album Phenomenon may be, but the work done by these unholy soldiers is rather remarkable. First of all, and despite the fact that AENAON undergone through endless lineup changes in its 2-3 years of existence, the sound is solid, not so-and-so at all and - most of all - completely 'Black'. I was afraid I'd face some flat production (which ends up to be rather irritating for this kind of Norsk Black Metal) and it's essential to say AENAON worked hard to build up the sound they actually wanted (bear in mind we talk 'bout a self-financed release).   AENAON's style - as expected from the pre-mentioned comments - takes influences from both the Scandinavian and Greek Black Metal style. The majestic obscurity of EMPEROR and VARATHRON may come to mind…But it's not only this (the comparison would be more of a dead-end). AENAON music is quite smart (not 'mainstream', in the e.g. DIMMU BORGIR way) but lets 'thinking' melodies to lurk in. The EP's cover proposed such a though, to tell you the truth. Blastbeats co-exchange roles with up-tempo cosmic grooves, while the vocals/keys do will win you over on first audition. As already mentioned, the sound is really good and the velvet blackness of screams and paranoid keyboards is unveiled non stop.   I'd like to have the lyrics, to focus on more as a companion through this interstellar Black Metal trip. Nonetheless, AENAON and Phenomenon is a very good proposal for your non-primitive but also non-mainstream Black Metal lust. Visit the band's official MySpace page and taste the dimensional/sophisticated yet to-the-wall Black Metal hate.    


Metal Zone (Gr) 90/100 - 01/01/2009

The first EP by the Greeks Aenaon is an astonishing effort for sure in the Black / Death Metal scene indeed. This is about an EP that features six compositions, which in musical way move between the early Emperor, Naglfar and recent Behemoth styles of music. A huge amount of blast beat with some melodic passages that can be described as a Death Black Metal Holocaust. In This EP you’re about to hear Death Metal riffage, with many black metal blast beating hammerings. The production of this effort, despite the fact that is self-released, is very good, and very “clean” so the intensity of the band and their musical skills, that are many, can easily be recognized. The vocals sound like they have come from the very depths of hell, and for sure contribute to consider “Phenomenon” as a very “professional” effort, that can easily stand next to many foreign bands of the scene. Personally I consider myself as a fan of the band and I hope that soon they will sign a contract with a label and release their first full-length album.


Nocturnal Cult (Us) - 01/01/2009

The intense and technical Greek black metal quintet come out guns blazing on their debut EP.   The intro merges orchestral and industrial elements into an exercise in dark immersion therapy, creating a mental state perfectly suited to the tight, clinical black metal of Perdition: A New Era.  Rapid-fire drumming and precision riffing spray out of the speakers like bursts of machinegun fire.  Meaty Morbid Angel-ish rhythms open And Chaos...Enthroned.  The guitars ripple with sinewy power before gripping ahold of a speedy black metal explosion which tails off with a melodic lead.  Icy riffs prevail on Navel, as Aenon make and emphatic statement of confident death infused black metal.  Smashing snare hits and burly bass drums highlight a section technical riff patterns before flying off into a fiery flurry of blasting black metal.  Industrial sonic textures form the foundation for the mathematical musings of Extradimensional Wall.   A feeling somewhat  like a less interesting Red Harvest.  So it is with a mild let down the EP ends.  Though black metal in vocals, attitude and certain riffing elements, I feel that Aenaon actually has a lot more in common with the Morbid Angel school of devastating precision death metal.  Sort of like a less symphonic Emperor meets Zyklon!


Nordic Vision (No) - 01/01/2009

Phenomenon is a 6 track mini-CD moving in a harsh and original direction of some kind.. The sound is in your face, the music sort of odd and hard to categorise, but Aenaon will appeal to those into the extreme Metal genres. There are no apparent influences, the riffs are nice and the band makes sure that the music is based on their own kind of originality. Though it isn’t complex, it’s hard to really get into; it’s just sort of weird, tending toward traditions. Makes no sense, I hear you say? Well, I agree.


Sea of Tranquility (Uk) - 01/01/2009

Phenomenon is the latest EP from Greek quintet named Aenaon. This project was originally the idea of Draugen (guitars & vocals) and Thyragor (bass & vocals). They have recruited members from acts like Black Winter, Majeste Symphonia, Enshrine, Obscecration and the likes to complete their line-up. There are actually six compositions on this album, even if my player showed 27. Opening track, "Et in Arcadia Ego", is some sort of industrial electronic intro. This is followed by a mid-range/un-powerful sounding fast tune called "Perdition: A New Era". You start thinking "this is gonna be a long EP to go through". For some reasons, Track #3, "The Virus Code", has stronger bass lines and punchy double basses, re-assuring me about the production. The following number, "And Chaos…Enthroned", is pretty much of the same un-inspired/un-original style, although containing a bit of guitar harmonies this time. Then, finally, came a good composition, "Navel", where the tempo varies, arpeggios and power riffs appear, as well as a slight progressive touch. What a relief! "Extradimensional Wall" is similar to the opener, with the difference of having female operatic vocals and some raspy whispers. Then what about the 21 others would you say? From track #7 to 26, all you have is a useless series of 3 second silences, and the last one is a 14 seconds of electronics and vocals. This covers what Phenomenon is all about.


Sound Shock (Uk) - 01/01/2009

This is the first official release from Aenaon who come from the sunny shores of Greece, however like many of that country’s myths of old this is darker and more twisted than might be expected. Their style is predominantly black metal but with a very technical and experimental feel with the pace being fast throughout. There is a hint of Behemoth detected times, especially when things start veering towards the epic end of the scale with ‘Navel’ and ‘Extradimensional Wall’ being exemplary.  The production on ‘Phenomenon’ is that of a band brimming with sonic experimentation despite the treble sadly shadowing the more intricate nuances at times! If this release is anything to go by it wouldn’t be at all surprising if the next recording produces something very special indeed. Aenaon are certainly a band to keep an eye on! 


Spirit of Metal 20/20 - 01/01/2009

This is the debut album from this Greek black metal quintet. They are from the towns of Larisa (134 miles northwest of Athens) and Volos (104 miles north of Athens). Except for tracks 1 and 6(the intro and outro songs), this album is very dynamic and intense.  The songs shred and thrash at a high octane tempo. The guitars and bass playing are very technical and rival bands like Decapitated, Melechesh, and Sadist(Italy) in that regard.The lyrics were written by vocalist Astrous. The vocals have a ugly, mean, and hateful attitude that remind me of the vocals of Phil Anselmo with his band,Superjoint Ritual. But the vocals sound more like Benjamin Killeke of Neaera. The guitars sound outstanding, they are super fast, and highly skilled. The bass playing is excellent and displays some technical moments. The drum playing is also very skilled and fast. The songs are well written and composed. Their influences are obvious and I will point them out.    The first song, Et In Arcadia Ego, is the intro (1:19 minutes). It sounds strange with synthesizers and a symphonic sound, along with vocal choruses. The second song, Perdition,A New Era, has a rhythm that sounds similar to the old Metal Church song, Line Of Death. This song is very explosive and extremely fast. The Virus Code has a technical bass rhythm that sounds like the Decapitated song The First Damned, but it is played at a much faster speed. There are also some catchy interludes in this song that sound similar to Old Man's Child.    And...Chaos Enthroned is an awesome jam. It's also very fast and sounds like recent Old Man's Child. Navel is a very melodic song that sounds similar to the style of Vesania (without symphonic music), but played a faster pace. Extradimensional Wall is the outro (2:39) minutes. It's a strange song that's played at a slower tempo, with a synthesizer and effected with echoes. It sounds similar to Old Man's Child or Vesania.    So why would a metalhead want to buy an album with so many borrowed melodies? Because the technical guitar and bass playing are phenomenal. If they keep this up, they could be extremely popular. Similar bands are Neaera, Absu, and recent Old Man's Child.  


Squealer Rocks (De) - 01/01/2009

Fucking great! Damned, this album kicks ass. AENAON completely go straight ahead with their EP, „Phenomenon“. All friends of extreme music – me as well – can only keep on pushing the „repeat“ button to listen to it again and again. On this album, you can hear Blackened Death Metal of quality A. These Greeks mostly play uptempo, but without sounding monotonously because in the middle, the quintet starts getting more slowly for a while, just to get faster again and again, e. g. there are not only blastbeats on this album. AENAON work quite progressively at times. During the opener „Perdition, A New Era“, there are many changes, so you could think you have already listened to 2 or 3 songs in a row. But - despite of that – everything fits together perfectly.   AENAON don´t bore the listener with incoherent playing, but always show that they want to write the right song. Everything makes sense here. Your eyes don´t start bleeding because of excessive demands. The band also fill their songs with elements open to the public, so that the listener always keeps the songs in mind, e. g. at the end of „And … Chaos Enthroned“ you can hear a real refrain. „Navel“ sometimes reminds on DIMMU BORGIR, but without these dominating keyboards.  This sounds a bit commercial, but it isn´t. For this, the songs are too raw and too hard. Besides that you can also always hear some DARK FUNERAL and MARDUK influences.   Friends of extreme music should take care that this EP shouldn´t get dusty anywhere. Buy it because your ears will like these songs anyway.  

Geil! Verdammt noch mal, diese Scheibe haut rein. Und wie! AENAON hauen mit ihrer EP, „Phenomenon“, dermaßen in die Vollen, dass man als Freund von Extrem-Mucke, also Leute wie ich, nur noch die Repeat-Taste drücken will, um den ganzen Spaß noch mal zu erleben. Auf dieser Scheibe gibt es Blackened Death Metal der Güteklasse A zu hören. Dabei geben die Griechen zwar die meiste Zeit Vollgas, aber dies auf eine Weise, die dem Geschehen keinen Stempel für Eintönig verpasst. Denn mittendrin tritt das Quintett gern auf die Bremse, verweilt dort ein gewisse Zeit und drückt dann wieder in einer anderen Weise auf die Tuben, beispielsweise kommen Blastbeats in der Höchstgeschwindigkeit nicht fortwährend zum Einsatz.   AENAON gehen ziemlich progressiv zu Werke. Bereits beim Opener, „Perdition, A New Era“, gibt es so viele Wendungen, dass man meinen könnte, man hätte 2 oder 3 Songs hintereinander gehört. Und dennoch passt alles perfekt zusammen.    AENAON verlieren sich nicht in einem zusammenhanglosen Finger-Gefrickel, sondern zeigen absolute Entschlossenheit einen richtigen Song machen zu wollen. Man kann alles nachvollziehen. Die Ohren fangen ebenso wenig vor lauter Überforderung an zu bluten. Ferner füllt die Band ihre Stücke mit zugänglichen Elementen, die es einem erlauben, diesen und jenen Track besonders in Erinnerung zu behalten.   Z.B. kommt „And … Chaos Enthroned“ zum Schluss mit einen richtigen Refrain daher. „Navel“ erinnert zwischenzeitlich kurz an DIMMU BORGIR, aber ohne dieses dominante Keyboard. Das hört sich kommerziell an, ist es aber nicht. Dafür sind die Songs zu rau und zu hart. Des Weiteren lassen auch DARK FUNERAL und MARDUK fortwährend grüßen.   Freunde der Extrem-Mucke, ich kann es Euch nur empfehlen, diese EP nirgends verstauben zu lassen. Legt sie Euch zu, denn die Songs sind eine Wohltat für Eure Lauscher.  


VolumeMax (Cz) 9/10 - 01/01/2009

„Zajímají nás samobuzené globální nestabilnosti, jenž fungují za účelem snížení energií rovnovážného stavu. V hvězdných kotoučích je tento nestabilní mechanismus spojován s viditelným přenosem hybného momentu.“

Jelikož jsem studijně dnes už neodmyslitelně zaklesnut do období antického starověku a to především do oblasti Řecka a Říma, byl jsem neskutečně nadšený z dvou aktuálních vydání kanadského labelu Bleak Art Records. Dnes jsem si vzal na paškál nový objev řecké metalové scény. Jmenovitě jde o poměrně mladou kapelu AENAON. Existenčně možná mladou, avšak v jejich žilách již koluje krev velmi zkušených muzikantů. 
Jak jsem už na začátku lehce předeslal, jméno AENAON není v našich končinách nijak známé, a proto bych Vám rád představil první výplod této bandy – slovutný „Phenomenon“.
Ihned, co pohlédnete na velmi pěkně a nápaditě propracovaný booklet alba, zjistíte, že Řekové jsou velmi hrdí na svou minulost a kulturu z ní vycházející. Všechny stránky bookletu jsou zde posázeny historickou alfabetou, matematickými vzorci a několika citáty řeckých filosofů. 
Po zaznění úvodního intra přemýšlím, nakolik bude „Phenomenon“ ovlivněna industriálními prvky. Tak či onak, industriální stránka věci se na této nahrávce vyskytuje pouze v pozici, kdy svým specifickým způsobem dokresluje zvuk a atmosféru, nezasahuje však nijak zásadně do samotných kompozic po stránce tvořitelské. 
AENAON se nejzřetelněji pohybují ve sféře black metalu, jenž je kalen (ve významu tvrzen) nejtvrdšími válivými postupy death metalu. „Phenomenon“ má tak krystalický zvuk a jemně industriálově podkreslený základ, že marně přemýšlím o kapele podobného ražení. Všechny nástroje a především dominantní kytary jsou zde nádherně čitelné s opravdu ostrým, řezavým efektem. Ačkoliv chlapi vycházejí z agresivního black metalu, nepodávají ho tak klasicky jako třeba kapely pocházející ze severu. Řekové (vzpomeňme na ROTTING CHRIST) mají své příznačné stylové postupy a vytvářejí black metal s opravdu jiným cílem a nadhledem. AENAON kombinují oba postupy takovým způsobem, že používají moderní kytarové postupy a osvědčené chytlavé melodie.  
„Phenomenon“ zní zatraceně svojsky. Toho všeho je docíleno tou řekněme exotikou, kterou nám „Graecia Magna“ nabízí. 
Ačkoliv jde pouze o EP vydání, jež nabízí necelých 26 minut dokonalé hudební náplně, můžu s klidem v duši říct, že 70% dnešních dlouhohrajících desek nedosahuje ani v nejmenším takových kvalit jako „Phenomenon“. A to po všech stránkách, ať už hovoříme o hráčských kvalitách, zvukových prostředcích či nepopsatelné atmosféře. Není co dodat – Jen houšť !!


Wings of Death (Nl) - 01/01/1970

De oude beschaving Hellas, Griekenland dus, lijkt heden ten dage louter luidruchtige exportproducten in de aanbieding te hebben. Aenaon is begonnen in 2005 en bracht tot nu toe twee veelbesproken EP's uit: Phenomenon (2009) en A Parallel Zoetrope (2010). De band houdt het op avant garde / (post) black metal met een twist; progressief en experimenteel lijken me wel passende termen. Daarover zometeen meer, want dan gaan we het hebben over het full length debuut van deze Grieken: Cendres Et Sang, ofwel as en bloed. Al lijkt het album meer bloed, zweet en tranen gekost te hebben, het kwartet is er bijna een jaar lang mee bezig geweest. Zoals wel meer aparte black metal acts uit minder voor de hand liggende landen vond Aenaon uiteindelijk onderdak bij Code666/Aural Music, dat het album binnenkort zal gaan uitbrengen. Aenaon weet de argeloze luisteraar direct te verrassen met de korte opener Kafkaesque (what's in a name?). Het intro bevat een eenzame saxofoon, later losjes aangevuld met wat flarden drums en gitaar, om naadloos over te gaan in Suncord. Daar horen we dan de eerste black metal passages, maar dan wel aangevuld met allerhande genre-vreemde invloeden, waaronder dus die eerder genoemde saxofoon. De band brengt dus zeker geen standaard moppie muziek, en eigenlijk is het zo dat elke beschrijving mijnerzijds afbreuk zou doen aan de creativiteit van de muzikanten en aan het verrassingselement van hetgeen zij ten gehore brengen. Wat ik natuurlijk wel kan zeggen is dat de uitvoering van het gebodene strak gebracht wordt. Sterke riffs, stevig drumwerk en lekker raspende vocalen. Het album bestaat uiteraard niet alleen maar uit een aaneenschakeling van verrassingsmomenten, regelmatig wordt simpelweg het gaspedaal ingedrukt en kan de luisteraar genieten van rechttoe rechtaan speedy black metal. Maar nooit voor lang, een wending ligt al weer gauw op de loer. Cendres Et Sang weet op deze manier wel de hele cd lang te boeien, never a dull moment. Aenaon heeft blijkbaar dan toch het beste voor het laatst bewaard. Afsluiter In Heaven begint met een troosteloos stukje pianomuziek, bevat een heldere vrouwenstem en creëert een sfeer om verdrietig van te worden. Uiteindelijk neemt het nummer je mee in een rollercoaster aan emoties en muzikale uitersten. Over de gehele linie lijkt het er op of Aenaon niet altijd even goed kan kiezen welke kant ze nou eigenlijk heen willen. De basis van de muziek lijkt op zich wel bepaald, authentieke black metal is het fundament waar Aenaon zijn kunstige variaties op bouwt. Post black metal invloeden en avantgardistische trekjes houden de muziek interessant en maken het allesbehalve voor de hand liggend. Vooral ook atmosferische, soms (semi) akoestische passages en wat doomy invloeden zorgen er voor dat dynamiek behouden blijft. Liefhebbers van progressieve en levendige black metal met een mysterieus tintje en verrassende wendingen kunnen hier hun zwar(t)e hartje ophalen.



Hellbound (Ca) - 01/01/1970

Hailing from Larisa in the Thessaly region of Greece, Aenaon take the listener on an eclectic, twisted avant-blackmetal journey throughout their debut full-length, Cendres Et Sang. The free-form saxjazz of intro ‘Kafkaesque’ is an out-of-the-gate/wasn’t- expecting-that head-scratcher, but the sheer oddity of it is especially tasty as it segues flawlessly into ‘Suncord’- a wickedly infernal, modern-black crusher not far removed from latter-day Satyricon. The band brings the free-jazz back two-thirds of the way through the track, and the incorporation of this interlude within a blistering black metal warstomp seems absolutely mental, but bychrist it works, and well. ‘Psychonautic Odyssey’ follows up and it’s a little more-straight-up: a classic, foot-stomping metal-march bit of riffery with the occasional tasteful blastbeat here and there. The drumming on the track is more akin to technical death-metal than standard-issue blackblast and its precision really drives the song. Then – good lord, out of nowhere, that IS a bit of Hammond organ I [barely] hear, just before the guitar solo! I thought I was hearing things, as it’s the only time the Hammond audibly appears in the track – an interesting, left-field easter egg that threw me for a loop, since the instrument doesn’t seem to appear anywhere else on the record.   ‘Grand Narcotic Harvest’ comes walloping back with complete sturm-und-drang blast, but utilizes clean, almost choral vocals on the chorus. The track also chimes in an ’ooo-spooky’ breakdown interlude toward the end, incorporating what sounds like a theremin, to much Addams Family effect. On this track, as on others, I am impressed by Aenaon’s adventurousness, much along the same lines as bands like latter-day Dødheimsgard or Khold. It’s somewhat refreshing to see such expressiveness in a genre that sometimes prides itself on how rigid and within certain tenets it can stay.   Cendres Et Sang, as a whole album, stands on its own merit, so much so that I’m hard pressed to cherry-pick standout tracks. Everything here is brilliant, and all ten songs ultimately make the album worthy of repeated listens front-to-back. That said, though – I have to admit that there is one absolute show-stopper on the album, and of course they saved it for last: the band’s inflammatory cover of ‘In Heaven (Lady in the Radiator Song)’ from the Eraserhead soundtrack. The songs opens with some torch-song piano, and soaring female vocals that remind me vaguely of a subdued Diamanda Galás, until Aenaon see fit to turn the song on its ear and do what they do best, thundering down the mountain with their primordial avant-black-thrash. While a lesser band making the same attempt would have simply butchered the song in the name ofheavy metal, Aenaon have actually managed to give the song a new voice, and ultimately make it their own with this radical interpretation. Turning a torch song into such a Wagnerian show of force could have been a complete mess, but I am left speechless by this, sincerely impressed.   With their latest signing in Aenaon, Code666 continues to cement its name as the vanguard of forward-thinking blackmetal. Stellar release after stellar release, the label has proven its cutting-edge mettle time and again, and Cendres Et Sang is only further proof of the label’s impeccable taste. Seek this out at once.

By Kyle Harcott  


Metal Army (Us) - 01/01/1970

"Aenaon do what they like ; like what they do" This Greek act sound remarkably Norse here on their Code 666 debut, belting out some impressive, if niche-appealing, black/death for the masses. Standing in strict defiance of their Necromantia/Rotting Christ-inspired brethren, Aenaon instead adopt a much more forward-thinking, less old school approach to things, letting their guitar work explore spacey, progressive depths instead of musty pathways and dungeons. The end results of Cendres et Sang aren’t too far off from a jazzier, more mystical sounding take on the Zyklon/Myrkskog death/black hybrid, with Aenaon inserting melodic atmosphere and brass accompaniment in lieu of the former’s blastbeat barrage. Cendres et Sang, as a result, is impressive extreme metal, taking the template and running with it, appealing imminently to fans along the way.   Indeed, it’s rare for dyed-in-the-wool, Dodheimsgard-esque metal of this caliber to stick to the ribs these days, yet Aenaon do so with surprising dedication, ability and accuracy, attacking each song with a joy clearly born from metal worship and a legit love of their source material. One shouldn’t dismiss how much HONESTY can do for one’s music, and Aenaon possess this factor in spaces, lending Cendres et Sang a reverberating sense of pride, as a result.   As such, extreme metallers would do well in checking these Greek lads out, for there is some impressive noise going on here with Cendres et Sang.

Written by MetalGeorge  


Heavy Metal Haven (Uk) 8.1/10 - 01/01/1970

Cendres et Sang is the first full-length album from Greek avant-garde black metal band Aenaon, released in 2011. On Cendres et Sang Aenaon produces a sound which is a mix between some harsh black metal and some melodic ideas with plenty of avant-garde flavour to them, also heard well in that the release touches on a number of other music styles.  After opening with the intro track Kafkaesque, which is a saxophone piece, the album kicks off proper with Suncord (although it sounds like the two ought to be one track – seriously artists, stop doing this!), which quickly establishes just what Aenaon are all about. The black metal parts are intense and the avant-garde element in the music keeps it from being an exclusively brutal attack on the ears, which gives the music much more depth. Without it the album would just be the band thrashing their black metal riffs away which would have resulted in a brutal yet bland release. There’s a very prominent jazz influence in the music with the inclusion of the saxophone in some of the tracks being the most notable aspect of this. The growled vocals are generally strong and I like the fact that Aenaon have gone for a decent production on the record, as it helps give the music more power. A raw production in black metal is all well and good when the aim is to create a cold minimalist atmosphere and while they lack of that may make the ‘true’ black metal devotee want to steer clear of Cendres et Sang, the decent production here should make the record much more appealing to the wider crowd.   It’s those non-standard ideas that give Cendres et Sang it’s most interesting aspects however. Parts of this record make me think I’m listening to early Mastodon, such as in Grand Narcotic Harvest, while yet others have an almost folk melody to them, such as in Necroscope. It certainly makes for a surprising listen on the first spin, and after that it still remains fresh and interesting with its unexpected twists and turns, and makes for a very fulfilling listen.    Additionally there are some very prominent lead guitar parts in the album that manage to give the release some air guitar moments, which I wasn’t actually expecting from a black metal album despite the fact that the avant-garde element should have made me expect the unexpected.    Overall Aenaon’s Cendres et Sang is the sort of black metal album that I like to come across. The avant-garde side of the band makes this a bit different from most and makes it stand out from the crowd. In truth I think that this is only the beginning of a great career for Aenaon and while this is a great debut effort, I fully expect them to deliver some true masterpieces in the future. Recommended for fans of non-standard black metal, especially if you’re partial to a bit of the good ol’ saxophone (just don’t expect a saxophone dominated album!).   


Metal Reviews 72/100 - 01/01/1970

Calling your album’s first track ‘Kafkaesque’ seems like a transparent bid for cleverness-status to me, but then this is a code666 release, home of the weird and (sometimes) wonderful likes of Axis of Perdition, Ephel Duath, and current up-and-comers Oddball Jazz-Metal Fusion Band. Sure enough, the opener in question is a short freeform saxophone solo which, without wanting to start on a downer, there’s something slightly off about. Jazz instruments aren’t that much of an oddity in the more experimental realms of the metal world now, partly because of the ground-breaking work of certain other bands on the label’s roster, and as a result the somewhat lost-sounding toots here don’t quite intrigue as they might have done in a pre-Ihsahn/Shining world. This segues in the tangled thicket of ideas that is Suncord, the first proper track here, and a perplexing amalgamation all sorts of influences. The main body of the sound is a mid-tempo blackened death stride, like a slightly more prosaic version of compatriots Rotting Christ, but in the sudden jolts into quieter, erratic jangling it feels like Ephel Duath’s The Painter’s Palette; occasional shouted vocals are reminiscent of Virus; and the twisting approach to songwriting suggests Ihsahn. It’s a bit of a jumble, in which it’s hard to detect a coherent train of thought. It’s one of those ‘everything but the kitchen sink’ kind of songs.   So it’s probably to the album’s benefit that Aenaon settle into a more secure niche with Psychonautic Odyssey and largely remain there for the rest of Cendres et Sang. It opens with a big, stomping groove suggesting a debt to more recent Satyricon and generally oscillates between that and periodic flashes of a more snarling blast approach. That’s a combination that has much in common with labelmates (and my all-time favourite band) Ecnephias, and whilst Aenaon eschews all the synth theatrics there’s further parallels in both acts’ orientation towards a more accessible sense of gothic melody. The walking-pace metal of Carnivora’s Lair or Necroscope have a definite Paradise Lost feel to them. Flourishes of oddness, such as the Hammond organ on Psychonautic Od… or the strange spacey sounds seemingly nicked from Angst Skvadron on Grand Narcotic Harvest are augmentations and ornaments rather than an ends in themselves.   The best track here though, is closer In Heaven, a supremely warped arrangement of the song the girl in the radiator sings in David Lynch’s Eraserhead. It’s one example of the band doing ‘weird’ extremely well. This chillingly serene original becomes a cathartic metallic climax, which makes what has gone before seem slightly mediocre in comparison. The overall impression, then, is of a slightly puzzling record, at times striving too self-consciously for avant-garde-ness and at other points feeling a bit too straightforward. It will be of interest to those of you that follow code666 releases avidly.    

Killing Songs : Psychonautic Odyssey, Necroscope, In Heaven

By Charles


Projekt Fish Tank (Gr) - 01/01/1970

Πρώτα ήταν εκείνο το demo που το είχαμε κάνει review στον μεταλλικό αετό. Μετά ήρθε εκείνο το split με τους Ρουμάνους με το τρομερό όνομα, το οποίο το κάναμε εδώ στο ενυδρείο. Καλά το καταλάβατε, κάπου το πάω μικρά πουλιά της γνώσης και της σοφίας... οι Aenaon βγάλανε δίσκο. Και ήρθε η ώρα του να βουτηχτεί στο ενυδρείο. Θα τον κατασπαράξουν άραγε τα αιμοβόρικα πιράνχα του projekt fishtank; Ποια θα είναι άραγε η μοίρα του... για αυτά, και άλλες ιστορίες βουτηγμένες στην δράση και την αγωνία, διαβάστε στην επόμενη παράγραφο.

Μικρά σταθερά βήματα steps. Τέτοια είναι αυτά που κάνουν οι Aenaon με τους τωρινούς ρυθμούς. Στην πραγματικότητα μια χαρά βήματα και μετρημένα κάνουν, ακριβώς όπως πρέπει. Ωριμάζουν, δοκιμάζουν τις αντοχές τους και τολμούν. Στο "Cendres et Sang" δικαιώνονται (spoiler). Ναι δεν ήθελα να σας αφήσω στην αγωνία και την ανασφάλεια. Μ’ άρεσε ο δίσκος. Από το ιντριγκαδόρικο opening του "Suncord" που φέρει ένα άρωμα από Jaga Jazzist έως το DHG-ικό riffing του "Necroscope", ο δίσκος αποπνέει μια μετρημένη φρεσκάδα. Δεν θα ροκάρει τον κόσμο σας με καμια καινοτόμα μουσική προσέγγιση, ούτε με την ιδιαίτερη μουσική αυθάδεια που διακρίνει τις προαναφερθείσες μπάντες. Από την άλλη όμως, ξεπερνάει την παγίδα της αντιγραφής με επιτυχία και αυτό πρέπει να αναγνωριστεί. Μπορεί που και που να σας έρχονται πράγματα στο μυαλό αλλά ποτέ δεν επιβάλλονται ενοχλητικά ώστε να στραπατσάρουν την γενικότερη αύρα του δίσκου. Αυτή την μετα-αποκαλυπτική μαυρίλα που σαδιστικά επιμένουμε να ακολουθούμε.

Η δουλειά που έχει γίνει στα Strype studios, πέραν του ότι είναι καταπληκτική, για κάποιο απροσδιόριστο λόγο μου φέρνει στο μυαλό τον ήχο του "How the World Came to an End” των θεόθεων Manes. Όγκος και ακομπλεξάριστα πρίμα, που επιτρέπουν να ακούσεις καθαρά τι παίζει σε κάθε δευτερόλεπτο. Θάνατος στους ήχους "Ντόρα η μικρή εξερευνήτρια", βαρεθήκαμε να λέμε: βλέπω ένα μικρό riff κρυμμένο πίσω από τον τόρνο που χρησιμοποιείται για κιθάρα. Στο "Cendres et Sang" θα τις ακούσετε μια χαρά τις κιθάρες και τα τύμπανα και όλα, χωρίς τύψεις. Δεν είναι φλώρικα είναι απλά ανθρώπινα. Ο θόρυβος θέλει προσοχή, δεν είναι για όλους.

Για να τελειώνουμε... Οι Aenaon είναι καλοί, τα βήματά τους είναι προσεκτικά και η γέρικη συμβουλή μου που σε κάποιο σημείο πρέπει να ακουστεί, είναι δουλειά και πάλι δουλειά γιατί οι δυνατότητες τους είναι μεγάλες. Δεν μας χαλάει στο επόμενο Inferno να ρωτάμε νορβηγούς με σατανική τσαχπινιά “καιαιαιαιαι τι ώρα παίζουν οι Aenaon φίλε;".


Metal (De) 8/10 - 01/01/1970

Wow. Ich bin wirklich beeindruckt - sowohl von "Cendres Et Sang" als auch von dem feinen Gespür für Qualität, das Code666 einmal mehr beweisen. AENAON liefern auf ihrem Debut neun Songs (plus Intro) in einer Qualität ab, von der die meisten Black Metal-Bands ohrenscheinlich nur träumen können. AENAON kommen - entgegen erster auf dem Albumtitel (der übersetzt "Blut und Asche" bedeutet) gründenden Vermutungen - nicht aus Frankreich, sondern aus Griechenland. Sie sind damit die erste griechische Black Metal-Band, die ich mag - vermutlich gerade weil sie nicht "griechisch" klingen (was immer das bedeuten mag). Die vier jungen Herren hören sich eher nach Skandinavien an... Stop! Diese Aussage allein reicht mittlerweile nicht mehr, um Schwarzwurzeln hinter dem Ofen hervorzulocken, daher lege ich noch einen drauf: AENAON gelingt es scheinbar mühelos, Geist und Atmosphäre der schwarzmetallischen Neunziger Jahre einzufangen und sie in ein modernes Gewand zu kleiden.   Dabei lässt sich ein erster, oberflächlicher Vergleich mit den Labelkollegen von BLUTMOND nur schwer vermeiden, denn das Intro "Kafkaesque", der Opener "Suncord" sowie der längste Song des Albums "Black Nerve" enthalten saucooles Saxophon-Spiel. Anders als die Schweizer auf "Thirteen Urban Ways 4 Groovy Bohemian Days" klingt "Cendres Et Sang" jedoch keineswegs urban, sondern in erster Linie introvertiert und sehr persönlich. Und das, obwohl das Klangbild eine ganze Ecke roher ist als das BLUTMOND-Album. Die Gitarren sägen ganz wunderbar, ohne in kvltiges Rauschen zu verfallen, die Drums sind angenehm transparent und druckvoll, die Synthetik ist niemals auffällig und dennoch stimmungsvoll.   Das ist alles schon sehr fein, doch auf dem robusten instrumentalen Fundament fußt auch noch sehr abwechslungsreicher und vor allem emotional stimmiger Gesang. Oft gibt es klassisches Geschrei, hier und da erinnert die stimmliche Darbietung an Bjørn "Aldrahn" Dencker (DHG, THORNS) in seinen besten Tagen, auch klarer männlicher ("Grand Narcotic Harvest") und weiblicher Gesang ("In Heaven") hinterlassen ihre Spuren in mir.   Zusammen mit den durchdachten Arrangements wird "Cendres Et Sang" zum kreativen und kraftvollen Zeugnis einer aufstrebenden Band, von der ich hoffentlich noch viel hören werde.

Author: Falk


Battle Helm - 01/01/1970

At times it seems like I only repeat myself but I can't emphasize enough the standard of certain regions metal bands. The Dutch bands usually carry the banner high. As does the Greek. Not to mention the Nordic metal bands. Aenaon are Greeks and they release an album on Italian Code666, home to some of the World's most avant-garde black metal bands. You don't need to wear your thinking cap to figure out where Aenaon fit in this equation. But then again being avant-garde does not mean anything in terms of quality or innovation. It's just a way of saying "we are different " look at us". All this does not apply to Aenaon. Their black metal is in major parts extremely conventional with only small doses of avant-garde thrown in for good measure. But it is these small doses that boost the concoction. They're the quality this album need for it to not drown. But then again, I had not expected anything less from a Greek band. Like I said I hold the quality of Greek bands high.

Anders Ekdahl


Heavy Metal Cosmos (Gr) 8.5/10 - 01/01/1970

While Strauss Kahn was being fucked and caught with his pants down; while the European prime ministers are arguing about financial help; while the IMF is struggling to find a new predecessor, is Greece eagerly waiting for the things to come?! Greece: such a beautiful country with such a beautiful music metal scene; another proof of that is settled by the band Aenaon. Aenaon is among other Greek bands, such as On Thorns I Lay and The Elysian Fields able to mix several different music styles in a fluent and for almost one hour lasting journey among jazz, black metal, doom post core atmospheres, alongside melodies and other musical brilliance. All together mixed and produced with a clear and metallic sound, that transfers easily all these different styles towards a quite typical Aenaon mixture. I don’t know how these Greek bands are doing it every time, but among several other well known (Greek) acts, almost every Greek band is able to mark its importance and its unique qualities within the metal scene in general and in the death and black metal scene especially.   During the ten songs of their debut album “Cendres At Sang” the overall black metal inspired songs are moving towards jazz related experiences at one moment, passing along doom riffs with a core attitude at another time and several different atmospheres that will lead you towards pure and intense black metal. What all will be heard and experienced throughout your listening is as impressive and unique as the Greek landslides, beaches and seas and its inhabitants.   Just have a look yourself and invest your money in another musical product of Greece that is worth all your attention; this to fully show you its musical intentions, especially when you are into Greek (black) metal bands in general and the earlier mentioned On Thorns I Lay and Elysian Fields in particular. Check out the below sites for some previews.   Support Greece economically, to be able to listen to more quality black metal bands musically, like Aenaon for example.  



Brutal Crush (It) - 01/01/1970

Se non avessi letto la breve bio, avrei comunque intuito che gli Aenaon, giunti dopo due ep alla prova della maturità con il nuovo “Cendres Et Sang”, inciso per i tipi della Code666, fossero nativi della Grecia, patria delle sperimentazioni in ambito black metal. L’inizio dell’opener track, “Kafkaesque”, mi colpisce particolarmente, un malinconico sax descrive atmosfere notturne, degne di un viale di New Orleans, scarsamente illuminato da lampioni e insegne cadenti dei jazz bar chiusi nel disastro post-Katrina. La mestizia tratteggiata dallo strumento a fiato lascia però spazio alla fierezza di un riff in stile ultimi Death e la song scorre su coordinate più tradizionali di metal estremo. Il disco si muove, quindi, lungo le coordinate di quello che viene definito black metal avanguardistico, ma soprattutto, anche se non in maniera esplicita, vi sento una grande influenza del lavoro dei Cynic (ok, non voglio esagerare, ci sono cento categorie di differenza a favore dei Cynic, ma mi riferisco alla scelta di alcune soluzioni di riffing “liquido”) e della band di Chuck Shuldiner nel periodo “The Sound of Perseverance”. Fanno spesso uso del blast beat e lo screaming risulta convincente, nulla posso dire dei testi, non avendoli sottomano. Su questa solida base, complice un’ottima perizia tecnica, innestano delle soluzioni originali, come il riff Isisiano di “Necroscope”, le gustose scelte melodiche della chitarra solista in “Black Nerve”, gli stacchi di sax che spuntano qua e là nei momenti più jazzati e riflessivi, il pianoforte e la voce femminile che intonano una melodia retrò nella conclusiva “In Heaven”, prima della struggente e cadenzata esplosione black metal su un muro di suoni dissonanti. Se a tutto ciò aggiungete che i greci in questione hanno dei nomi degni di un poema omerico (uno dei chitarristi si chiama Achilleas), è evidente che ci troviamo di fronte ad un disco che ogni amante del metallo estremo e sperimentale deve far suo. Ultima annotazione: il titolo è analogo ad un film drammatico di Fanny Ardant del 2009 che tratta il tema delle rivalità famigliari, ma non so se il riferimento sia voluto. Questo è il tipo di metal (mi riferisco alle uscite Code666 in generale) che ogni ascoltatore attento dovrebbe acquistare, perchè rappresenta un approccio musicale che oggi -anno domini 2011- in pochi riescono ad avere, sapendo coniugare sapienza tecnica, salde radici nei classici, ma anche molta originalità, suonando tutto con convinzione e, passatemi l’espressione, “palle quadrate”. Scusate se è poco.

(Manolo “Minipony” Manco)


Written In Music (Nl) 3/5 - 01/01/1970

De debuut CD van het Griekse Aenaon heet Cendres Et Sang (As En Bloed) en wordt uitgebracht door Code666. Ze omschrijven hun muziek zelf als avantgarde & visionary black metal. Die vlag dekt de lading in het geheel niet; het visionaire hoor ik er niet echt aan af en om het avantgarde te noemen gaat mij eigenlijk iets ver. Wat kan de luisteraar dan wel verwachten? Stevige blackened death metal met hier en daar wat spannende breaks en bizarre intermezzi. Die laatste twee muzikale elementen zijn natuurlijk niet voldoende om de muziek zelf echt progressief te maken, daarvoor moeten ze een integraal onderdeel uitmaken van de songs en nadrukkelijker aanwezig zijn. Begrijp me niet verkeerd, de metal van dit viertal is bijzonder spannend en de muziek bevat progressieve elementen. Er zijn echter bands die de lat voor zichzelf qua progressiviteit veel hoger hebben gelegd. Die elementen die de muziek zo bijzonder maken nemen ook geleidelijk af. Een leuk piano intro komt nog terug op het laatste nummer, maar daar houdt het dan ook wel mee op.

by Carl Puhl


Metal Chroniques (Fr) 7.5/10 - 01/01/1970

Formés en 2005 par des musiciens issus de groupes plus ou moins connus au sein de la scène extrême grecque (Varathron, Tortured, Nethescerial, Dunkel etc.), Aenaon nous propose avec Cendres Et Sang son premier full length, versant dans un Black Metal résolument moderne et pour ainsi dire avant- gardiste. C’est en effet grâce à l’ajout d’éléments provenant d’autres horizons qu’Aenaon tire son épingle du jeu en se démarquant : la base est clairement d’un Black Metal solide et puissant, presque brutal par moments (« Grand Narcotic Harvest »), sur lequel vient se greffer une multitude d’éléments n’ayant rien à voir avec le style de départ. Saxophone (« Suncord »), piano (« In Heaven »), rythmiques et progressions jazzy (« Black nerve »), mais aussi voix féminines viennent donc ouvrir le style d’Aenaon en donnant à son Black Metal une saveur toute particulière, versatile et assez imprévisible. Bien entendu, le registre reste clairement extrême, avec des riffs lourds et tranchants, une section rythmique écrasante et des vocaux haineux et puissants. Aucun souci quant au résultat final car l’ensemble tout en étant dense reste cohérent de bout en bout. Les longues compos (plus de cinq minutes en moyenne) sont servies par une très bonne production qui permet de saisir toutes les nuances, et il y en a beaucoup. Les grecs arrivent à insuffler un léger vent de folie à leur musique, un aspect barré et complexe assez prenant. On ressent clairement que le groupe est formé par des musiciens ayant déjà fait leurs armes auparavant, car la maitrise du sujet est évidente et la maturité indéniable. Le potentiel est de plus très intéressant, surtout quand il est mis au service d’un concept aussi fort que celui de la folie, dont le groupe arrive à dépeindre les différentes facettes avec intelligence, notamment en alternant parfois chant hurlé Black et chant clair. On pense parfois à la rencontre, sous fond de brutalité psychotique, de groupes comme Code, DHG et Virus...d’excellentes références donc, et si cela ne vous met pas l’eau à la bouche, je ne peux rien pour vous !  Il s’agit là d’un excellent album, qui dévoile au fil des écoutes sa richesse et ses subtilités. Je gage qu’en mettant un peu plus de finesse dans son jeu et en donnant un peu plus d’espace aux éléments qui viennent se greffer sur le Black Metal de départ, Aenaon devrait pouvoir élargir encore son champ d’action. J’attends donc la suite avec curiosité, car ce premier album est plein d’une originalité pleine de promesses.



Ragherrie (Nl) 83/100 - 01/01/1970

Het hele “avant garde black metal” genre begint een beetje erg hip(ster) te worden, en het lijkt erop alsof elke black metal band die maar enigszins invloeden van “buitenaf” heeft zichzelf meteen bombardeert (of door invloed van het label), tot avant gardistische black metal. Apart, want lang niet alles wat tot het genre gerekend wordt valt er ook onder. Op Aenaon lijkt het bovenstaande niet van toepassing te zijn. We hebben hier inderdaad te maken met een intelligente band die zijn invloeden uit onder andere de jazz haalt, ook bespeur ik hier en daar wat Marillion achtige riffjes, genoeg dingen dus die van Aenaon geen doorsnee black metal band maken en die ze wat avant garde trekjes geven. Het begint al meteen goed met de eerste en tweede track. De eerste track is in principe een intro van het tweede nummer, en ik snap niet zo goed waarom deze twee los geknipt zijn van elkaar, als het gewoon eigenlijk 1 geheel is. Een klein puntje van verwondering, maar niet iets waar ik me echt aan stoor. Bij dit nummer, Suncord, wordt meteen duidelijk dat Aenaon veel in zijn mars heeft: met een saxofoon gedreven intro weten ze zichzelf meteen apart te zetten van andere black metal bands, een vergelijkbare band die bij mij naar boven komt is Ihsahn, en dat is niet bepaald de minste naam. Als de sax intro afgelopen is wordt overgegaan in brute black metal met een onwijs cleane productie. De vocalen zijn dik in orde, zowel de rauwe screams als de gestoord klinkende samenzang die halverwege het nummer voorbij komt. Ik vind wel dat Aenaon meteen erg veel elementen in 1 nummer probeert te stoppen, desondanks blijft de balans tussen bruut geweld en een pakkende melodie dik in orde, het is echter wel erg intensieve (en een beetje vermoeiende) muziek. De gitaarsolo in dit nummer is ook werkelijk fenomenaal, en hier bespeur ik voor de eerste keer invloeden van gitaar grootheden van weleer. Bij de promotionele informatie over Aenaon wordt aangegeven het lyrieke en muzikale thema psychotische afwijkingen is, en daar kan ik me heel erg goed in vinden. De samenzang klinkt, zoals eerder gezegd, gestoord; de screams uiten ook een soort van wanhoop over de mentale staat van de hoofdpersoon, en daarbij zit er zo veel verschil in bijvoorbeeld de eerste twee tracks, de laatste twee tracks en het midden van de cd dat er muzikaal gezien ook aan het thema voldaan wordt. Psychonautic Odyssey heeft een lekkere riff bij de intro, ik moet een beetje aan Arcturus denken hierbij. Wederom zijn de vocalen sterk en is er een goede variatie in snelheid. Dit nummer is veel meer “echte” black metal dan het vorige, maar vervalt niet in clichés. Het nummer wat hierop volgt, Grand Narcotic Harvest het een spacy, nerveus makend intro wat wederom aan Arcturus doet denken. De samenzang begint op dit nummer enge proporties aan te nemen, ze voelen heel beklemmend aan; het hele nummer riekt naar krankzinnigheid. Datzelfde geldt voor de vocalen opCarnivora’s Lair. Dit nummer heeft een erg aanstekelijk prog metal intro en verschillende overgangen die de muziek interessant houden. Necroscope is het gaafste nummer van de cd, met ijzersterk gitaarwerk wat niet doet denken aan wat voor andere black metal band ook. Toch begint het een beetje repetitief te worden na een track of vier a vijf. Dit houdt pertinent niet in dat de muziek slecht is, elk nummer zit goed in elkaar en bevat genoeg variatie, de variatie komt echter veelal op hetzelfde neer (gave gitaar riff intro, midtempo black metal, break, midtempo black metal, tempo variatie, nog meer gitaar virtuositeit). Het zorgt er overigens wel voor dat elk nummer afzonderlijk wel heel goed luisterbaar is. Maar om deze reden, is de intro van het eennalaatste nummer Black Nerve met een nog veel gierender gitaarsolo een welkome afleiding, de saxofoon keert terug in dit nummer, en zorgt er voor dat de cd nog meer aan voelt als een solide geheel. Hier is duidelijk goed over nagedacht. In Heaven is een leuke afsluiter, met de jazzy vrouwenzang en piano, wat uiteindelijk resulteert in een climax waarin alle elementen van de plaat, de piano, de zang en de black metal gecombineerd worden. En zo bezorgt Aenaon mij op de valreep van de cd een flinke dosis kippenvel. Aenaon heeft de lat voor zichzelf erg hoog gelegd met deze debuut plaat, ondanks dat hij een beetje repetitief begint te worden naarmate de cd zijn einde nadert. Toch ben ik na aanleiding ervan ben ik erg benieuwd wat ze hierna uit zullen brengen, en of ze in staat zijn om dit staaltje strak avant gardistische black metal live waar te kunnen maken.

by Whisperes 


Metallus (It) 7.5/10 - 01/01/1970

Sangue e cenere, due sostanze dalla profonda simbologia danno il titolo a questo debutto degli ellenici Aenaon, combo black metal piuttosto anomalo e sui generis, in virtù dell’apparente naturalezza con cui riesce a far convivere vari elementi sonori, senza risultare forzato, pretenzioso o intellettualoide. L’idea dalla quale muove il quartetto è visiva/visionaria, nella misura in cui la comune materia black (riferimenti possibili i Satyricon di “Rebel Extravaganza”, Todtgelichter dell’ultimo “Angst”, Ihsahn) è piegata ad esigenze espressive quasi filmiche, come dimostra il riuscito raccordo tra il sax notturno di “Kafkaesque” e la piéce quasi Arcturus di “Suncord”.   Senza dubbio la band non indulge troppo in manierismi, tastiere e melodie, ma tiene sempre alto il livello di aggressione sonora (“Grand Narcotic Harvest”, ospite V’gandr degli Helheim), tramite il lavoro continuo delle due asce di Dagwn e Achilles. Astrous, da par suo, si dimostra uno screamer molto quadrato, con un’impostazione death-oriented che non guasta affatto l’atmosfera densa e cupa dell’album.   Il bello è che “Cendres Et Sang” riesce a suonare piuttosto fresco e moderno senza sacrificare troppo il suo originario spirito black metal (“Carnivora’s Lair”, “Necroscope”). Personalmente trovo comunque più riuscite le sezioni in cui il gruppo alza un po’ il piede dall’acceleratore, producendo mid-tempo evocativi e dalle atmosfere psicotiche e inquietanti. Uso questi aggettivi non a caso, visto che la conclusione è affidata a una cover di brano di Eraserhead di Lynch (“In Heaven (Lady in the Radiator Song)”), regista con cui gli Aenaon pare condividano un certo feeling per il disordine mentale.   L’unico neo di questo altrimenti ottimo lavoro è rappresentato da una produzione non abbastanza rifinita, che pecca, soprattutto riguardo la distorsione delle chitarre, di quella chiarezza e pulizia necessaria a rendere intelligibili le varie sfumature, che in questo modo a volte si perdono in un calderone sonoro molto potente e d’impatto, ma non abbastanza definito.   A parte questa considerazione di carattere tecnico, davvero un grande debutto per la band greca, che segna fra l’altro un ennesimo investimento artistico di successo per l’italianissima Code666, sempre più una certezza di qualità.

by Alekos Capelli  


Metal Discovery (Uk) 9/10 - 01/01/1970

" eclectic foray into avant-garde black metal."

Recently signed up by Code666, Aenaon’s debut full length ‘Cendres et Sang’ (which translates as ‘Ashes and Blood’) is an eclectic foray into avant-garde black metal. Their hybrid sound pushes black metal into melodic atmospheres, progressive passages, and incorporates elements of free jazz into their compositions. ‘Kafkaesque’ opens proceedings, the title suggesting the senseless, disorienting and menacing complexity found in the author’s absurd and surreal reflections, the noir jazz sax piece hints at the aberrant psychological ordeals of David Lynch movies.   Seguing into ‘Suncord’, the indomitable forces of black metal are unleashed, the jazz re-emerging in the mid-section, the fluid jazz guitar and sax lines gliding over a diminished bass line. As the might of unseen forces are felt even deeper in the straightforward stomping groove riff of ‘Psychonaut Odyssey’, a Hammond organ makes an appearance in the mix, bringing an even more sinister edge to proceedings. ‘Grand Narcotic Harvest’ uses clean, dramatic vocals in the chorus and a sound similar to a Theremin hovers eerily in the near-distance for the breakdown. The black barrage continues into ‘Once Finite’, the lead work of which is stunning and ethereal. ‘Carnivora’s Lair’ weaves in, around, and through barren wastelands into the black momentum that charges through ‘Necroscope’, ‘Kraanerg’ and ‘Black Nerve’, three songs that are utterly enthralling in their scope. ‘Black Nerve’, at just over eight minutes – with the noir sax reappearing in the midst of the menace – is a vast journey through manifold emotions, each richly merged into a beautifully expressive opus. A cobweb-covered piano accompanied by a chilling female vocal opens ‘In Heaven’, a cover of the song from David Lynch’s surrealist nightmare ‘Eraserhead’. Suitably twisted, the piece spirals deeper into the aesthetics of inner torment through black metal horror. Thus, the cycle is complete, and ‘Cendres et Sang’ ends where it began, suspended between insanity and genius.   As an album, it’s very difficult to identify many, or indeed any, chinks in the armour. Aenaon are more than prepared to explore and exploit nuances in sound and structure to bring deeper dimensions to their music. Incorporating the unusual and the unexpected into the mix, ‘Cendres et Sang’ is an accomplished album, a multifaceted beast that is intense, innovative, and consummate in experimentalism and not once does it compromise the aesthetic. Highly recommended.

Review by Jason Guest  


Inferno Rock Magazine (It) 7/10 - 01/01/1970

I greci Aenaon si misurano con un black metal d’avanguardia che risulta interessante soprattutto quando la band inserisce un sax jazz che ci riporta alla mente gli Ephel Duath più ispirati (Suncord). Più canonici i brani tipicamente black metal, anche se hanno un’impronta moderna e sfruttano bene l’appeal più cadenzato. In chiusura la band ci sorprende con la cover di In Heaven, dalla colonna sonora del capolavoro di David Lynch Eraserhead.    


Behind The Veil (Gr) 7.5/10 - 01/01/1970

"Cendres et Sang" is one of the most impressive, pioneering and innovative works I've had the chance to listen to in the black metal genre and the fact that it's delivered by my compatriots AENAON makes me feel very proud! Extreme metal reigns supreme here in Greece and this band is one more proof of how strong the scene is here. AENAON isn't your typical black metal band and it's definitely unlike anything you've listened to so far. They belong to the wider genre of avant garde experimental black metal, but their compositions are so psycho, so technical and with so many jazz references you just listen to it with your mouth gaping wide open. Truth be told, however, this isn't the kind of music that can be easily digested by many people, it requires openmindedness, because the songs on "Cendres et Sang" are so paranoid, chaotic and multilayered, it's sometimes difficult for you to follow or fully understand them. There are two things I can tell you for certain... one is that this is a visionary band that brings something new to the table and the second is that this album needs many listenings in order one to be able to say he/she has started getting what's going on. I ponder upon what grade to give them a lot and no matter what, I don't think it'll be right, so I thought I should give them the average between what AENAON deserve for their songwriting skills and what a typical metal head will think when he/she listens to this work.

by Christine Parastatidou


The Plunderer Webzine (Gr) - 01/01/1970

Οι Aenaon είναι Θεσσαλοί με μέλη που ζουν σε Λάρισα και Βόλο. Η ιστορία της μπάντας ξεκινά από το 2005 και επεκτείνεται τα τελευταία χρόνια με ένα promo ένα Ep και ένα split. Στις πρώτες εκείνες εικόνες λάβαμε ένα black metal με ιδιαίτερο και μεστό ήχο που μας χάριζε μια οπτική στην οποία συναντούσαμε μπάντες όπως οι Dimmu Borgir και Gorgoroth γαρνιρισμένες με κάποια riff που έφερναν στο μυαλό ως και τους μεγάλους Thorns. Πρόσφατα υπέγραψαν συμβόλαιο με την Code666 και ξεκινούν ένα άλλο ταξίδι με φιλοδοξίες και τόλμη ντεμπουτάροντας με το full-album Cendres Et Sang, που σημαίνει “στάχτες και αίμα” με εξώφυλλο έναν πίνακά του Πολωνού Lukasz Wodynski.

Το πρώτο ολοκληρωμένο album των Θεσσαλών εμπεριέχει αρκετές αλλαγές στο ύφος με σκοπό μια νέα κατασκευή, ένα ιδιότυπο Black Metal που θα μπορεί να κουβαλά τόσο τα τυπικά του είδους όσο και πολλά άλλα metal χαρακτηριστικά κρατώντας τα σε μια ισορροπία. Με τον τρόπο αυτό κατορθώνει να ολοκληρώσει ένα ενιαίο σύνολο δομώντας μιαν άλλη εικόνα απομακρυσμένη από το ποίμνιο μεν αλλά πολύ σχετική δε. Αυτό συμβαίνει κυρίως επειδή δεν συνηγορούν παικτικά στο κλασικό μοτίβο, με δεδομένη ηχητική φόρμα απευθυνόμενη στους λίγους και εκλεκτούς Blackmetallers και μόνο εκεί. Αλλά εκπέμπουν μέσω μια άλλης συχνότητας ένα νέο δρώμενο για εκείνο το κοινό που αρέσκεται στο τυπικό του Black Metal με εναλλασσόμενα Avantgarde εικονίδια και μικρούς πειραματισμούς ροής. Τα κομμάτια είναι γραμμένα σε metal βάση, με τις κιθάρες να φέρουν την ευθύνη και την εφαρμογή σε αυτό. Ο τρόπος που παίζουν έχει προσανατολισμό αλλά και μια έμπνευση που τους δίνει την δυνατότητα να βάζουν αλλότρια metal στοιχεία στο Black Metal και να επιτυγχάνουν μια συμβατότητα που σπάνια συναντάς. Μέσα από αυτή την διαδικασία προεκτείνουν το μονοδιάστατο χωρίς complex βαυκαλισμούς και πάνω απ’ όλα καταφέρνουν να μην καλουπωθούν σε μια τετριμμένη συμπεριφορά. Έτσι εκεί που θα σας βάλουν μέσα στο επιθετικό μονοπάτι θα σας ξαφνιάσουν μ’ ένα ξαφνικό metal solo και εκεί που θα περιμένετε μια εκ νέου μελωδική συμπεριφορά θα εμφανιστεί ένα έντεχνο πέρασμα που αλλάζει τα πάντα. Έτσι λειτουργεί και το υπόλοιπο μουσικό περίβλημα, μ’ ένα ρυθμικό μέρος που είναι αρκετά μπροστά και το αναδεικνύει η παραγωγή και συνοδοιπόρους σε αυτό κάθε σκέρτσο που μοιάζει με εχέγγυο cool συμπεριφοράς αλλά είναι πάνω απ’ όλα η δυνατότητα μιας άλλης εφαρμογής και σχετίζεται με τα μουσικά γεγονότα και μόνο.

Αν υπάρχει κάτι που μπορεί να εξεταστεί σε μια διαρκή επίβλεψη είναι η ατμόσφαιρα που διέπει το Cendres Et Sang. Δεν συζητώ για διερεύνηση της ύπαρξής της αλλά για την πολικότητά που φέρει και το εσωτερικό φύλλωμα του ακροατή που θέλει ν’ αγγίξει. Αυτό δεν θα γίνει βέβαια επειδή ο μέσος μαυρομέταλος αρέσκεται σε τέτοιου είδους κουβέντες, αλλά γιατί το εκπεμπόμενο παρουσιάζει μια παράξενη ομογενοποίηση με συμβατές και ασύμβατες καταστάσεις, που έχουν όμως παρουσιαστεί συνεκτικά δεμένες κατά την εκτέλεση. Αν λοιπόν η συνθετική σου δομή έχει χτιστεί με πολλά υλικά, metal μαγαζιών τα περισσότερα, είναι λογικό να εκπέμπεις ενός άλλου τύπου συναίσθημα και να εκπνέεις μια νέου τύπου ατμόσφαιρα. Εδώ δεν μπορούμε να κάνουμε την διαίρεση και να πιστέψουμε πως έχουμε το σωστό πηλίκο, παρά μόνο ν’ ακροαστούμε ψάχνοντας μια ταύτιση μαζί του.

Στο κομμάτι του ήχου και των θέσεων που λαμβάνει το album θα βρούμε ένα ρυθμικό μπούγιο που σε φάσεις ανατρέπει την πορεία, από την άλλη υπάρχει ως αντίδοτο μια μελωδικότητα που δεν επηρεάζει μόνο riff και solo αλλά και την φωνή, η οποία πέρα από την τυπική της συμπεριφορά σε κλασικό Black Metal επίπεδο θα μπει σε καθαρά μέρη και θα θυμίσει ως και τους Arcturus σαν επιρροή, μέσα εδώ δώστε μου την δυνατότητα να βάλω και τα καταπληκτικά γυναικεία φωνητικά στο In Heaven (την Synne Larsen απο In The Woods θυμήθηκα). Πάντα σε τέτοιες προσπάθειες οι μπάντες που παρουσιάζουμε σαν επιρροές θα έπρεπε να ονομάζονται καλύτερα εφαλτήριο για δράση, μιας και η λέξη επιρροή λειτουργεί ως συνεκτικός κρίκος για τον ακροατή και τα γούστα του, ενώ το εφαλτήριο για δράση είναι μια πηγή νίψης για τον μουσικό.

Συμπερασματικά οι Aenaon ξεκινούν μια πορεία με το βλέμμα καρφωμένο στα εξωγενή στοιχεία και μια μικρή αγάπη σε δογματισμούς. Μέσα απο αυτά ψάχνουν ένα μονοπάτι που θα κρατήσει πρώτα εκείνους να το βαδίσουν και έπειτα τον ακροατή να το αγναντέψει. Έχω την αίσθηση ότι όλα τα υλικά για ακόμη καλύτερα πράγματα υπάρχουν και εμείς θα παρακολουθούμε απο κοντά.


Metallized (It) 70/100 - 01/01/1970

Gli Aenaon sono una piccola formazione greca che è riuscita a mostrare al mondo la loro nuova creazione grazie alla nostrana Code666. Avevamo già notato in altre occasioni (ad esempio con Între Dou? Lumi degli impronunciabili Syn Ze ?ase Tri) di come la Code, nonostante prediliga ancora le forme più interessanti e metafisiche della musica estrema (Control Human Delete, Fen, Thee Maldoror Kollective), promuova contemporaneamente diversi tipi di black metal dai connotati (leggasi produzioni) contemporaneissimi. Parte alla grande questo Cendres et Sang, sulle note nebbiose dei fiati (oboe e fagotto, se l'orecchio non mi inganna) di Kafkaesque che diventano un'interessante miscela di jazz-black nella successiva Suncord. I tempi sono serrati e i riff spaziano dai classici giri aperti e vorticosi ai palm-mute più thrash; le urla di Panos cambiano continuamente dal growl allo screaming in questo brano mutevole quanto interessante. Produzioni e stacchetti psichedelici di vintersorghiana memoria che stupiscono positivamente l'ascoltatore, anche se si limitano un po' troppo a fare da contorno. Chimerici incontri fra Dødheimsgard, 1349 e Ihsahn costituiscono i lati più "progressive" dell'album (Psychonaut Od) dove le melodie si interpongono raramente per lasciare spazio al lato più violento della band che, spesso e volentieri, si inerpica sui tempi dispari e sull'effetto patinato delle chitarre. Le eccessive dosi di aggressività non fanno impennare il disco, anzi, lo pongono in una sorta di limbo fatto di tante pretese e tanta forma; eppure le zone più melodiche, quando si palesano, sono veramente degne di nota; Once Finite mi ha ricordato quelle atmosfere fluttuanti e marinaresche dei Wintehorde; le chitarre che si stagliano lunghe e soliste sopra la sezione ritmica, i synth che emergono piano piano raccordando il brano lungo la sua durata... Eppure il fantasma dell'omologazione e della difficoltà di variazione aleggia costantemente lungo tutta la durata d'ascolto. Questa manieristica violenza che si fa veicolo di qualche messaggio "filosofico" rischia seriamente di essere la parte più evanescente dell'ombra di alcuni dischi che hanno analogamente detto gli stessi argomenti (almeno a livello sonoro) dieci anni fa. Tante belle idee che sono ormai figlie di un medesimo passato: riff intricati di Necroscope sono una sorta di ripassata al vetriolo delle esperienze di Vintersorg e soci, mentre l'interessante interscambio di effetti di Kraanerg non riesce a conferire al pezzo una sua autonomia. Black Nerve riesce a risollevare un pelo l'andamento del disco grazie alle sue potentissime e dirette melodie (anche se troppo simili alla sterile ira sonora dei Keep of Kalessin) che scompaiano per lasciar spazio a un bell'interludio jazz dalle atmosfere etniche. Anche l'opzione di chiudere con una cover-rivisitazione di In Heaven di David Lynch (quella che cantava la Marilyn Monroe deformata in Eraserhead) sembra un tentativo di ritagliarsi un angolino nel mondo del metal intellettuale, piuttosto che creare qualcosa di inerente al resto dell'album. Il brano parte meravigliosamente in un duetto di piano e voce femminile che però, per quanto ammaliante e per quanto richiami quei 2-3 spezzoni di solo jazz presenti nel platter, non fa che essere un ulteriore elemento solitario all'interno di un'opera di tutt'altra fattura. A livello stilistico non è altro che l'estremizzazione della cover dei Pixies, ma quando si continua a distorcere ciò che è già distorto… si crea solo un confusionario ed inutile caos.   Insomma, come (troppo) spesso accade, i nostri Aenaon hanno fatto un lavoretto stilisticamente e strumentalmente impeccabile; peccato che anch’esso vada ad aggiungersi alla lunga e prolifica lista dei dischi bollati come "già sentito". D'altra parte - giuro su me stesso - mi piacerebbe da morire vedere questi quattro musicisti imbracciare strumenti acustici per lanciarsi in una jam session dai sapori retrò e mitteleuropei. Sia mai che, producendo il classico e scontato album acustico... non ne esca un capolavoro… 


Hard Sounds (It) 75/100 - 01/01/1970

Dopo un EP poco convincente i greci Aenoan, con una strana adarazione per il latino, arrivano al full-lenth provando a dire qualcosa in più rispetto al lavoro precedente. Effettivamente di passi in avanti se ne vedono tanto che 'Cendres Et Sang', pur puntando al black oltranzista, lascia intravedere sprazzi avantgarde - gli Arcturus non possono non essere chiamati in causa - e qualche idea più prettamente post - il sax dell'intro e di "Kafkaesque" sa molto di Callisto. Quindi a tutti gli effetti un lavoro interessante che mostra una band che vuole progredire e guardare avanti. Magari non tutto è al proprio posto dato che in qualche occasione i nostri forzano un po' la mano, mentre in altre non portano a conclusione quanto nel corso del brano viene iniziato, ma in linea di massima è un album convincente che soddisferà sia i palati più fini, sia il blackster meno esigente e più tradizionalista. Ma è già tempo di andare ancora più oltre: gli Aenoan sono sicuro ci sorprendaranno ulteriormente con le prossime produzioni.   Notevolmente migliorati.


Passzio (Hu) 8/10 - 01/01/1970

Nem mondom, hogy felhőtlen öröm töltött el az avantgarde black metal jelző láttán, amit a hat éves múltra visszatekintő görög csapat bemutatkozó lemezére aggattak, azonban származásuk okán mégse menekültem hanyatt-homlok... Ugyanis a black metal gyökerekkel bíró görög zenekarok többsége igazán érdekesen, egyéni módon tud az extrém témákhoz nyúlni, és nem gyorsfogyasztásra ajánlott produkciókat adnak ki kezeik közül. Mint ahogy jelen banda sem.

Finoman úszik be a hallójáratokba a szaxofon a Kafkaesque névre keresztelt intróban, amely hangszer aztán többször is visszatér a későbbiekben. Viszont nem igazán értem, hogy emiatt vagy a tördelt dalszerkezetek citálták ide az avantgarde kifejezést? Hiszen ez a zene sokkal inkább rokon a késői Enslaved anyagokkal, mint mondjuk a feleslegesen művészkedő és szerintem túlzottan felmagasztalt csapatok többségével, hadd nem mondjak neveket... Tény, hogy nem minden ízében kiérlelt a produkció, de számomra nagyon is élvezhetőnek tűnik.

Legnagyobb hibája talán a némileg masszaszerűen fortyogó sound (több helyen vették fel a dalokat, a maszterizálás a Strype Audio és Tom Kvalsvoll érdeme, aki egynémely DHG, Code, 1349, Keep of Kalessin lemezért is felelős), ami miatt valahogy nem jönnek át maradéktalanul az apróbb részletek, pedig lenne mire figyelni bőven. A második szám végére aztán megszokja az ember, innentől meg kár ezen idegeskedni. Alapvetően zúzós témákból építkeznek, de természetesen finomabb, billentyűsökkel kísért borultabb részek is előfordulnak, amelyek megtörik a súlyos kétlábgépre épülő húsba maró riffeket. Érdekes, hogy dobost sehol sem tüntettek fel, azonban dobgépre utaló jel sincs, legalábbis nem tűnik művinek a dolog. De végül is mindegy, mert amúgy teljesen korrekt és kellően változatos alapokat hoznak, helyenként talán túlzottan is megvariálják a nótákat, amik így egy picit töredezettnek tűnnek, az elektro-hatásokat sem nélkülöző Necroscope például pont ilyen. A hangszeres tudással tehát nincs gond, talán arra kellene hangsúlyt fektetni, hogy kerekebb dalokat írjanak, mert mondjuk a Helheim-torok V'gandr közreműködésével előadott Grand Narcotic Harvest, vagy az Once Finite egyértelműen magasabb szintet képviselnek a többihez képest. Az Eraserhead című David Lynch filmből kölcsönzött In Heaven furcsa kísérlet, ahol zongora és női ének is színesíti a képet, jól passzol a csapat bizarrnak tűnő világába.

Érdekes debütálás, kell pár hallgatás, amíg ráérez az ember az ízére, de még ezután is csak fokozatosan adja meg magát. Azoknak ajánlott, akik nem nagykanállal fogyasztják a zenéket, hanem szeretnek hosszabb ideig elidőzni egy lemeznél.



Metal Gates Magazine 8.5/10 - 01/01/1970

 (Printed - June 2011 Issue)


Metalicos (Cr) 85/100 - 01/01/1970

Aenaon es una joven banda proveniente de Grecia, formada en el 2005 y firmada por Bleak Art Records.  De entrada hay que tener que en cuenta que con estos muchachos, hablamos de black metal underground, del desconocido para el metalero promedio, pero que tanto placer produce en quien, buscando en el inframundo, se topa con cosas que en ningún otro lugar podría encontrar. Phenomenon es un EP de apenas 6 piezas, el cual roza los 25 minutos de duración, pero se las arregla para descargar un torrente completamente letal de arte ennegrecido. Et In Arcadia Ego funciona como una pequeña overtura enfermiza, mezclando los sonidos de un suave clavicordio, con algo que podría ser descrito como una forma muy sintética de percusión industrial, todo ambientado por coros trágicos y muy bien posicionados.   Pero la cosa estalla en nuestra cara con Perdition, A New Era, un himno de puro black metal filoso, con un tempo demoledor en los tarros, repleto de cambios quiebra nucas, un riffing que de inmediato hace recordar al Satyricon perdido, y todo envuelto en un sonido deliciosamente black.  No es una maravilla, pero la estructura de la canción, y sobre todo el ya mencionado sonido de las guitarras, es plomo derretido en los oídos.  Incisivo, muy incisivo.   The Virus Code nos lleva por caminos menos vertiginosos, pero donde el riffing de calidad sigue abundando.  Destaca la voz de Astrous, que se mantiene dentro de los límites de lo tradicional pero es muy venenosa al mismo tiempo.   And… Chaos Enthroned recupera la velocidad a punta de blast beating y aceleraciones como la que tenemos a los 1:13 minutos, donde revienta una sección rítmica y certera que automáticamente pone a mover la cabeza.    Navel se presenta ya en la curva final del EP, y juega con tiempos no muy veloces a doble bombo pero bastante efectivos.  Es en esta pieza donde podemos escuchar mejor al bajo en algunas secciones, sin salirse nunca de lo dictado por la batería al fondo.  A estas alturas comienza uno a lamentarse de saber que al disco le quedan tan pocos minutos y quisiera que fuera un larga duración para hacer headbanging por al menos 25 minutos más.   Extradimensional Wall es la coda, otro himno reminiscente del primero, aunque acompañado de guitarras distorsionadas y una percusión un poco más marcial.   Aenaon despliega black metal de calidad excepcional, totalmente inesperado para el EP debut de una banda tan poco o casi nada conocida.  El arte del disco está también muy bien logrado, y me resta sólo decir que a pesar de no ser la octava maravilla, Aenaon sí está muy por encima del promedio de las tan abundantes bandas black underground.  Dénse el chance de escucharlos, la oportunidad la tienen más que merecida.

by Mauricio

Aenaon is a young Greek band formed in 2005 and signed by Canada’s Bleak Art Records.  From the beginning we must bear in mind that we’re talking about underground black metal here, the kind unknown to the average metalhead, but also, the kind which brings tons of pleasure to the listener who is used to dig in the entrails of the underworld, that supernatural place where these jewels lay hidden. Phenomenon is a short EP, clocking in about 25 minutes, but undoubtedly manages to discharge a completely lethal stream of blackened art. Et In Arcadia Ego works as a short and sick overture, mixing soft sounds of harpsichord, with something that could be described as a very synthetic form of industrial percussion, all surrounded by some well positioned tragic choruses.   Things explode in your face with Perdition, A New Era, a sharp black metal anthem, built upon a fierce tempo in the drumming, replete with break-neck changes and a riffing that immediately brings to mind the now lost Satyricon.  This is not the eighth wonder, but in terms of song structure, and above all, the razor-sharp guitar sound, it works like molten lead in your ears.  Incisive, very incisive.   The Virus Code takes things through a less vertiginous road, but the quality riffing keeps undiminished.  Astrous voice stands out here, but also remains inside the traditional black metal limits.   And… Chaos Enthroned recovers the pace with a good load of blastbeating and accelerations like the one at 1:13, where a strong rhythmic section enters, automatically generating some headbanging.   Navel comes at the final turn of the EP, and adds some double bass to a not so fast tempo, keeping the effectiveness.  This song is the best place to hear some clever bass lines, which keep the structure dictated by the drums in the bottom.  Is in this moment when you begin to regret that there’s almost nothing left, and the feeling of wanting another 25 minutes is inevitable.   Extradimensional Wall closes this little beast, resembling the opening track a bit, but using some distorted guitars and a more martial ambient drumming. Aenaon displays some exceptional black metal, totally unexpected for a debut EP from a band with little to no exposure.  At this point I can only add that despite not being a groundbreaking record, Aenaon is way ahead of their average black metal peers in the underground world. Don’t miss the chance to listen to this band, they truly deserve your attention.    by Mauricio


Musik an Sich (De) - 01/01/1970

Unter dem Namen Aenaon fände man in Griechenland auch diverse Hotels. Hier aber geht es um die Black Metaller, die mit Cendres et Sang ihr erstes Album auf code 666 veröffentlichen und als "Avantgarde Black Metal" beworben werden... heikles und vermintes Gelände... doch die Klänge des Openers "Kafkaesque" sind wirklich ungewöhnlich: Das ist schöner, durchaus moderner Jazz, der sich auch beim eigentlichen Opener "Suncord" noch zu Beginn finden läßt, dann aber erst zum Solo recht unverbunden wieder zurückkehrt und zwischendurch von der übrigen Instrumentierung im midtempo plattgemacht wird. Gelegentlich erinnern Aenaon an die alten Deinonychus (vielleicht erinnert sich der eine oder andere noch), und das ist nicht schlecht, zumindest haben sich die Griechen da was einfallen lassen. Warum Aenaon als "Avantgarde Black Metal" beworben wurden, bleibt mir aber nicht nur auch beim folgenden "Psychonautic Odyssey" rätselhaft. "Avantgarde" ist da gar nichts, trotzdem gibts guten Dark Metal, mal im midtempo, mal etwas schneller, mal mit leicht sphärischen Passagen; Ausnahme dürfte "Grand Narcotic Harvest" sein, bei dem sich die Griechen die Verstärkung von V'gandr (Helheim) geholt haben.   Überraschungseffekte wie zu Beginn bleiben auf dem Rest der Platte aus ("Black Nerve" wiederholt quasi das Anfangsmuster), dennoch haben Aenanon mit Cendres et Sang ein kraftvolles, gut produziertes und durchweg gutes (wenn auch ein bißchen langatmiges) Dark Metal-Album hinbekommen. In jedem Fall antesten.


Headbang (It) - 01/01/1970

Sono attivi dal 2007 i greci Aenaon ma solo oggi arrivano a stampare (tramite la nostrana Code666) il primo full-lenght dopo "l'escalation gavetta" costituita da demo/ep/split (con i Satanochio). Il disco si intitola Cendres Et Sang e mostra una band matura ed acerba allo stesso tempo. Forse gli Aenaon hanno voluto fare il passo più lungo della gamba insistendo senza timore su un tipo di musica freddo e meccanico ancora da "svezzare" al meglio. Troppo spesso un senso di piattezza mi cattura nonostante i nostri mettano in atto un'ottima prova strumentale/compositiva (da rivedere solo la prova del cantante possibile causa di qualche "mal funzionamento"). La durata di quasi un ora di Cendres Et Sang non aiuta di certo, qualcosina verso metà album poteva e doveva essere tolta per favorire un ascolto meno difficoltoso. Tirando le somme non si scende sicuramente sotto una "valida" sufficienza, soprattutto con il pensiero di essere di fronte ad una band alle prese con il primo passo discografico di una certa rilevanza.  Per rendere l'idea di cosa suonino gli Aenaon immaginate il sound dei Dodheimsgard (privo delle sue folli sperimentazioni però, qui si va più sul classico) misto a quello che sono diventati gli Emperor negli ultimi dischi e certo lirismo di Arcturus e Borknagar. Su tutto questo (prodotto superbamente, questo bisogna specificarlo) applicate qualche vaga struttura melodica tipica della loro madre terra (se ne usavano in abbondanza con me sfondavano una porta aperta) assimilabile a gruppi come Septic Flesh, Nightfall e Rotting Christ, e il risultato è bello che fatto.    Le migliori canzoni le possiamo trovare all'inizio e alla fine del disco, la doppietta Suncord (notevoli nel piazzare chitarre greco/svedesi di assoluta classe) e Psychonautic Odyssey è di valore e spiana la strada al meglio (peccato solo per il seguente "cedimento"). Mentre la conclusione vede la presenza di una perla melodico/avantgarde come Black Nerve (forte trasporto generale e parti cantate particolarmente indovinate), e la cover "esperimento" tratta dalla colonna sonora di Eraserhead di David Lynch (magari un po fuori luogo ma a mio parere riuscitissima).    Peccato per il resto che come già detto rovina (ma non azzoppa) un po questo debut cd, non in modo clamoroso sia chiaro perché canzoni come Grand Narcotic Harvest , Once Infinite e Necroscope si fanno comunque ascoltare piacevolmente. Un voto sufficiente abbastanza particolare, ci sono doti e anche notevoli, si percepiscono e si sentono chiaramente ma devono essere perfezionate ancora meglio per colpire in maniera definitiva. Detto questo io lo comprerò lo stesso in quanto valida ed interessante testimonianza musicale e poi la copertina mi piace particolarmente.


Rock Overdose (Gr) - 16/01/2014

Oι Έλληνες Aenaon είναι από τις μπάντες που έκαναν την διαφορά από την πρώτη κιόλας στιγμή που έκαναν την εμφάνιση τους στη μουσική σκηνή. Με αφορμή λοιπόν το δεύτερο άλμπουμ τους αρπάξαμε την ευκαιρία να κάνουμε μια κουβεντούλα με τον Astrous για ολα όσα τους συμβαίνουν αυτόν τον καιρό.

Rock Overdose: Σε αναμονή λοιπόν για το δεύτερο σας άλμπουμ. Πείτε μας 2-3 λόγια για τις ηχογραφήσεις και την όλη προετοιμασία αυτού?

Aenaon: Η δεύτερη full length δουλειά μας, ονομάζεται "Extance" και θα κυκλοφορήσει στις 20 Ιανουαρίου από την Ιταλική Code666. Είναι ένα album που μας κάνει να αισθανόμαστε περηφάνια και ανακούφιση καθώς ρίξαμε πολύ δουλειά για 2 συνεχόμενα χρόνια. Στο τομέα της σύνθεσης αλλά και της ενορχήστρωσης ξοδέψαμε πολύ χρόνο, δοκιμάσαμε άπειρα πράγματα ώστε αισίως να καταλήξουμε στο τελικό αποτέλεσμα. Οι ηχογραφήσεις πάλι, ήταν ένα ακόμη εμπόδιο που έπρεπε να ξεπεράσουμε, εάν συνυπολογίσεις πως η μπάντα είναι διασκορπισμένη σε 3 πόλεις. Διαφορετικά studios, διαφορετικές συνθήκες... η μόνη σταθερά για μας ήταν το πάθος για τη μουσική που παραμένει ίδιο και αναλλοίωτο εδώ και πολλά πλέον χρόνια.

Rock Overdose: Τι να περιμένουμε από αυτό το άλμπουμ? Το αποτέλεσμα ανταποκρίθηκε στις προσδοκίες σας?

Aenaon: Το "Extance" είναι δύσκολος δίσκος. Σίγουρα δεν είναι η δουλειά που με ένα και μόνο άκουσμα γίνεται 100% κατανοητή. Ο ακροατής πρέπει να είναι σε εγρήγορση καθώς τα τραγούδια έχουν πάρα πολλές πληροφορίες που σίγουρα δεν γίνονται αντιληπτές με τη πρώτη ακρόαση. Νομίζω πως δώσαμε τον καλύτερό μας εαυτό και πως θα ικανοποιηθούν όλοι αυτοί που διψάνε για μουσική και είναι ανοιχτοί στους πειραματισμούς.

Rock Overdose: Πως θα συγκρίνατε το νέο άλμπουμ με το ντεμπούτο σας? Τι ομοιότητες υπάρχουν και τι διαφορές?

Aenaon: Είναι μια ερώτηση που τριγυρνάει αρκετά συχνά στο μυαλό μου, χωρίς όμως να μπορώ να δώσω συγκεκριμένη απάντηση. Σίγουρα παραμένουμε σταθεροί στο όραμα που είχαμε θέσει εξ αρχής, κρατώντας όλα αυτά τα στοιχεία που μας κάνουν να ακουγόμαστε ιδιαίτεροι. Το "Cendres et Sang" ήταν πράγματι ένα πολύ καλό ντεμπούτο, το "Extance" όμως είναι πιο συνειδητοποιημένος και ώριμος δίσκος που πραγματικά ρούφηξε όλη μας την ενέργεια.

Rock Overdose: Πείτε μας για την συνεργασία σας με μέλη από Universe217, Hail Spirit Noir, Sigh και In Vain?

Aenaon: Είμαστε πολύ χαρούμενοι να συνεργαζόμαστε με μουσικούς που εκτιμούμε και θαυμάζουμε. Το κάναμε στο "Cendres et Sang", όποτε θα μπορούσες να πεις πως είναι και ένα είδος παράδοσης πλέον για εμάς. Μας αρέσει να δουλεύουμε με άλλους μουσικούς και να δίνουν το στίγμα τους πάνω στη δική μας δουλειά. Οι συνεργασίες αυτές προέκυψαν κυρίως από τις ίδιες ανάγκες των κομματιών και είναι πράγματι μια ιδιαίτερη και όμορφη εμπειρία να παρατηρείς τις διαφορετικές διαστάσεις που παίρνει το κάθε κομμάτι. Τους ευχαριστώ όλους από καρδιάς και τους εύχομαι ότι καλύτερο!

Rock Overdose: Υπάρχουν σχέδια για μελλοντικές εμφανίσεις στο άμεσο μέλλον?

Aenaon: Ναι. Έχουμε κανονίσει κάποιες εμφανίσεις που θα ανακοινωθούν όταν έρθει η ώρα. Θέλουμε και μας ενδιαφέρει να κάνουμε όσο τον δυνατόν περισσότερα και ποιοτικά lives. Επομένως όποιοι διοργανωτές ενδιαφέρονται, μπορούν να επικοινωνήσουν μαζί μας.

Rock Overdose: Αν είχατε την ευκαιρία να επιλέξετε εσείς μια μπάντα με την οποία θα μοιραζόσασταν την ίδια σκηνή ποια θα ήταν αυτή?

Aenaon: Είναι άπειρες. Πάνω απ' όλα είμαστε οπαδοί αυτής της μουσικής οπότε θα μπορούσα να αραδιάσω όχι μία αλλά εκατοντάδες μπάντες. Αυτό όμως δεν θα είχε νόημα. Για μας το σημαντικό είναι πως το κάθε μας live, με όποιους και να ναι αυτό, πρέπει να είναι δυναμικό και ξεχωριστό.

Rock Overdose: Τα άλμπουμ που τελευταία πέσανε στα χέρια μου από την Code666 είναι πολύ προσεγμένες και καλές δουλειές. Πως προέκυψε η δική σας συνεργασία?

Aenaon: Η Code666 είναι μια από τις αξιολογότερες εταιρείες στο χώρο που έχει βγάλει πολλές και σημαντικές μπάντες. Ήμασταν ευχαριστημένοι από τη συμπεριφορά τους στο "Cendres et Sang", είδαμε πως σεβάστηκαν την προσπάθεια μας και την στήριξαν με κάθε δυνατό τρόπο. Επομένως, ήταν αυτονόητο για μας να συνεχίσουμε αυτή τη συνεργασία. Στη σημερινή εποχή είναι αρκετά δύσκολο οι μπάντες να βρουν εταιρεία. Κι αν βρουν δεν σημαίνει πως αυτή θα δώσει την απαραίτητη προσοχή. Όμως, ας μη ξεχνάμε πως οι δισκογραφικές είναι επιχειρήσεις με απώτερο σκοπό το κέρδος. Είναι απολύτως κατανοητό λοιπόν, να είναι επιλεκτικές και να επενδύουν σε μπάντες που ξέρουν ότι θα αποφέρουν άμεσα ή έμμεσα κάποιο κέρδος. Κάποιες φορές αυτό πετυχαίνει, κάποιες άλλες, όχι. Στη δική μας περίπτωση η Code666 συμπεριφέρεται
επαγγελματικά, χωρίς όμως να σκέφτεται μόνο τα έσοδα... Δίνει βάρος στις ανάγκες μας, κάνοντας αυτή τη σύμπραξη ταυτόχρονα φιλική και επαγγελματική και πάνω απ' όλα και τις δύο πλευρές χαρούμενες.

Rock Overdose: Πως ήταν η συνεργασία σας με τους Primordial και τι αποκομίσατε από αυτό?

Aenaon: Κάθε συναυλία είναι ξεχωριστή. Έτσι και αυτή με τους Primordial μας πρόσφερε πολύτιμη εμπειρία. Τόσο οι Primordial όσο και οι Mael Mordha ήταν φιλικότατοι και πρόθυμοι για κουβέντα περί μουσικής και όχι μόνο. Το σίγουρο είναι πως παίζοντας με τέτοιες μπάντες στο ίδιο σανίδι, γινόμαστε και μεις οι ίδιοι καλύτεροι.

Rock Overdose: Ενας απο τους καλύτερους δίσκους που ακούσατε τελευταία?

Aenaon: Θα αναφέρω το "Augur Nox" των Code και το νέο δίσκο των Hail Spirit Noir.

Rock Overdose: Αν μπορούσατε να αλλάξετε ένα πράγμα στον κόσμο ποιο θα ήταν αυτό?

Aenaon: Τον φθόνο.

Rock Overdose: Πως θα ήταν η ιδανική συνέχεια των Αenaon για εσάς στο μέλλον?

Aenaon: Να συνεχίσουμε να κάνουμε αυτό που κάνουμε για πολλά ακόμη χρόνια. Να γινόμαστε πάντα καλύτεροι και να θέτουμε το πήχη όλο και ψηλότερα.

Σας ευχαριστούμε πολύ και σας ευχόμαστε τα καλύτερα για το μέλλον!

Για το Rock Overdose
Vivi Jd


Extreminal Webzine - 09/01/2014

Greetings, your second album called "Extance" is out. What can you tell us about it?

Achilleas C: Greetings to you too Petar. Well, “Extance”, as you said, is our second full length album and it’s going to be released in 20th January via Code666/Aural music. It’s a work of art that was created with much passion and we’re really eager to share it with everyone.

Could you give us some more info's about the album like what is it about, the recording process of it, the lyrics, etc.?

Achilleas C: We started composing “Extance” during 2012 immediately after the release of our first album “Cendres et Sang”. Recordings begun in my home studio in the beginning of 2013 but the songs changed a lot through this process. A lot of guest musicians and artists where also involved on this so we kept modifying the tracks till the last weeks of the recordings. Vocals are a huge chapter of our music that we always work last so that we can focus. Concerning lyrics, let’s just say that Aenaon’s artistic interests are anthropocentric. It would be better if Astrous talked about this.

As I remember, after the recording of your last album "Cendres Et Sang", your drummer left the band. Was this the only line up change between the two albums, or was there any other as well? Also, could you introduce your new drummer?

Achilleas C: After Vanghmar left the band and after the release of “Cendres...”, Dagwn, our previous guitarist also left the band. At that time we started auditioning for a drummer with notmuch luck. After Anax became our new guitarist, he introduced us to a friend of his that wasn’t just a drummer. He’s actually an excellent player of many stringed instruments, percussions and drums. Nycriz ended up not just being our drummer but also playing the oud, sazi, oriental percussions and the drums for us. He also has a very good Jazz musical education which was a very good thing for us in order to improve this element in our music.

What is the biggest difference in your opinion between the two albums?

Achilleas C: Well this is a diffcult question. I think we managed to improve almost everything. Production, compositions, songwriting, performance and aesthetics. I would say that the biggest difference is that simply this is a little more matured album, we finally knew exactly what and why we where doing. I consider “Cendres..” as a powerful beginning for Aenaon but “Extance” stands really as the true vision of this band.

Looking back at the beginning of Aenaon, how do you seethe progress you made from each of your releases and what is your favorite release?

Achilleas C: Let me see... we started as an aggressive black metal band using as foundations bands like Emperor and Thorns. After “Phenomenon” EP we decided that we wanted to do something different, more original. “A Parallel Zeotrope” split with Satanochio was the first step to that direction. After that, we just kept improving in this direction. “Extance” is for sure our biggest achievement but we try to keep every release special on one way or another. For example we released a tape with unreleased material from 2009. Even this release means a lot to us because it’s our only cassette release and of course also brings memories from our first more extreme years.

What bands and music styles inspire the music of Aenaon?

Achilleas C: Through all these years we gathered so much experience and inspiring sounds to our minds that it wouldn’t be right if I named specific bands or artists. We try for sure to keep an eye and ear for good music no matter where it comes from and develop these stimuli into our own sound. If someone listens to our new album really carefully will be able to identify elements from completely different music genres but of course black metal is always and will be the foundation of our sound.

You recently played live together with Primoridal in Greece. How was it and will Aenaon maybe go this time on a tour orplay at some festivals to promote the new material?

Achilleas C: It’s the second time I had the honor to share stage with Primordial. Alan was breathtaking at this one. Really nice show.We hope to plan on playing in some festivals or doing a small European tour but on the other hand don’t know yet if we want to make that risk. Other bands in northern Europe don’t consider it a risk at all. They’ll had the resources to do it over and over again even if they had no luck with their careers. It’s not the same for us. We should first see the responses of our new album and then we’ll see if a tour is possible. After all, Greece at the moment is a third world country and things such as art and education are no longer considered important. Bands who seek brighter future should live this shithole.

Will you this time have a video for a song from your new album?

Achilleas C: Actually we are on 90% of completing the shootings and It’s really promising. Dark and aggressive as it should be. We’ll make an announcement soon.

Aenaon released also a few 7", Split's and tapes. Do you think that this is something good in times when some peopleeven say that CD's are something that will die out soon?

Achilleas C: I download mp3s to listen new albums or to listen music that I wouldn’t care to buy. If there is an album or an artist that I really like then I want it in my collection. Cd, vinyl or tape. I believe there will be always such people. People that want to hold in their hands and sense the material, read the lyrics, focusing on the cover and the layout while listening to a complete album.Vinyl is on the market for good again. Some people believe that cd is soon going to die but vinyl will live forever. I think they might be right. I really like Cds and I hope that’s not true but if you think about it, it’s just one more digital format.

Your new album will also be release over Code 666 as digital download. Is that maybe the new big thing in youropinion in the music industry?

Achilleas C: I don’t think so - this is already old fashioned in some countries. From what I see, live streaming through apps and websites is the new way of listening to music. New audiovisual media might rise too. It’s very hard to predict if there is even going to be another “big thing” for music industry. Internet, new media and piracy have changed forever what we once knew as music culture. Most of the people hardly listen to whole albums these days.

You also play in Varathron. Any news about something newfrom them?

Achilleas C: Yes of course - a 3way split was released (with Thornspawn and Black Altar) just a few months back and a split with Den Saakaldte will be released in spring via Floga Records.We’ve also already recorded guitars, bass and drums and now proceeding to Stefan’s vocals. New album entitled “Untrodden Corridors of Hades” is going to be released around September - I hope so.

What can we expect in the near future from Aenaon?

Achilleas C: We’re trying to be as much active as we can concerning releases, so a new split might rise a while after the release of “Extance” and of course we’ll try to be active for any gig possible. Our first videoclip is also a big deal for us coming up.

Any last words?

Achilleas C: It was a pleasure talking with you Petar. Thanks for the interest in our work. I wish everybody a great year. Stay true to your cause and passions.

Author: Petar Mrvic


Metal Hammer Magazine (Gr) - 07/01/2014

AENAON INTERVIEW (answered by Astrous) - Issue 349 - January, 2014

Αρχικώς θα ήθελα να σας συγχαρώ για την εξαιρετική δουλειά που έχετε κάνει! Μου φαίνεται πολύ πιο ώριμο και κατασταλαγμένο από το ντεμπούτο σας, δε νομίζεις;

Σε ευχαριστώ πολύ Παναγιώτη για τα καλά σου λόγια κι ενδιαφέρον. Το "Extance" είναι ένας δίσκος που απαίτησε πολύ δουλειά και χρόνο. Υποθέτω πως αυτό σε συνάρτηση με τη μουσική μας εξέλιξη βοήθησε να ακουστεί ένα αποτέλεσμα πιο ώριμο όπως επισήμανες κι εσύ. Με το πέρασμα του χρόνου ωριμάζουμε ως άνθρωποι, μουσικοί κι ακροατές, αποβάλουμε όσους ενδοιασμούς και φόβους έχουμε και προσπαθούμε να αντικατοπτρίσουμε στη μουσική μας αυτό που οι ίδιοι είμαστε πραγματικά.

Τι θεωρείς ότι κάνει το “Extance” πιο δυνατό από τον προηγούμενο δίσκο σας;

Είναι ένα δίσκος που έχει διάχυτο τον παράγοντα της υπερβολής. Τόσο σε συνθέσεις και δομή, όσο στη διάρκεια, στο συναίσθημα και στη πνευματικότητά του. Αυτά τα στοιχεία νομίζω πως συντελούν στο να ακούγεται φρέσκος και πιο δυνατός συγκριτικά με το "Cendres et Sang". Όντας μουσικός, βρίσκεσαι σε μια συνεχόμενη πάλη με τον ίδιο σου τον εαυτό. Επομένως ο στόχος ήταν να σπάσουμε τα δεσμά που είχαμε θέσει στο παρελθόν, να αφήσουμε πίσω τους κανόνες που περιβάλουν το χώρο του black metal και να δώσουμε το καλύτερό μας εαυτό.

Θα ήθελες να μας πεις τι μεσολάβησε από την κυκλοφορία του “Cendres et Sang”; Είχατε και κάποιες αλλαγές στο line-up σας νομίζω...

Μετά το "Cenres et Sang" νιώσαμε την ανάγκη να παρουσιάσουμε τη μουσική μας ζωντανά στον κόσμο, έτσι επακόλουθο ήταν να ισχυροποιήσουμε το πυρήνα της μπάντας με δύο νέα μέλη, τον Nycriz και Anax (J.M). Το ευτύχημα είναι πως δεν παρέμειναν κομπάρσοι για τις live εμφανίσεις, αλλά συμμετείχαν ενεργά στην ολοκλήρωση του δίσκου. Σε αυτό το διάστημα κυκλοφόρησε το "Er" σε split 7" με τους Stielas Storhett καθώς επίσης και ένα compilation tape μόλις σε 100 αντίτυπα με ακυκλοφόρητο υλικό από τη περίοδο του 2009.

Έχετε εδραιώσει κατά τη γνώμη μου, ειδικά με αυτό εδώ, την δυναμική σας στον προοδευτικό χώρο του black metal και πέρα από τον προσωπικό σας ήχο μπορεί κανείς να διαπιστώσει επιρροές από Arcturus μέχρι και Solefald. Κάνω λάθος; Που βρίσκουν ρίζες οι επιρροές σας;

Οι Aenaon αποτελούνται από πέντε διαφορετικούς χαρακτήρες που ο καθένας κουβαλάει τις δικές του παραξενιές και μουσικά γούστα. Με κάποιο τρόπο καταφέραμε να βρούμε διόδους επικοινωνίας καθοδηγώντας ο ένας τον άλλον. Σίγουρα ένα κοινό στοιχείο όλων μας είναι η αγάπη για τη μουσική χωρίς να κολλάμε αποκλειστικά στο metal. Τα ακούσματα μας περιλαμβάνουν μουσικές όπως jazz, blues, ethnic, electronica κ.α. Προσωπικά ακούω πολύ 70's prog rock, όπου το πεδίο επιλογών είναι τεράστιο και κάθε φορά ανακαλύπτω κάτι καινούριο και απρόσμενα ενδιαφέρον. Από την άλλη μεγαλώσαμε με το black metal, κάτι που δεν μας αφήνει ανεπηρέαστους... Γουστάρουμε να ακούμε τόσο oldschool δίσκους όσο και προοδευτικούς. Η ποικιλία σου δίνει τροφή για σκέψη, διευρύνει τους ορίζοντες σου και αντιλαμβάνεσαι το κόσμο πιο σφαιρικά.

Αρκετά μεγάλος σε διάρκεια ο δίσκος. Υπάρχει περίπτωση να κουραστεί ο ακροατής, δεδομένου και της πολυπλοκότητας του;

Δεν θεωρώ πως θα συμβεί κάτι τέτοιο. Το "Extance" έχει έντονες διακυμάνσεις και θα ήταν ντροπή να θυσιάσουμε ή να συμπυκνώσουμε στοιχεία και μουσική βάζοντας τα σε χρονικούς περιορισμούς. Νομίζω πως είναι μια δουλειά που πρέπει να ακούγεται στο σύνολο της και όχι αποσπασματικά, να το αντιλαμβάνεται ο ακροατής σαν ένα μουσικό ταξίδι που ξεδιπλώνει διαφορετικά ηχοχρώματα, με αρχή, μέση και τέλος.

Πολλές και οι guest συμμετοχές στο “Extance”, και η καθεμία δίνει το δικό της ξεχωριστό τόνο. Θα μπορούσες να μας δώσεις κάποιες παραπάνω λεπτομέρειες;

Λατρεύουμε να συνεργαζόμαστε με ανθρώπους τόσο από τη σκηνή όσο και εκτός του metal. Δίνουν τη δική τους οπτική στις συνθέσεις και κάνουν το δίσκο πολύπλευρο. Είναι τιμή για εμάς συμμετοχές όπως αυτή του Mirai Kawashima από τους avant-garde θρύλους Sigh, και του Sindre Nedland από τους εξαιρετικούς Νορβηγούς In Vain και Funeral. Διπλά χαρούμενοι όμως είμαστε γιατί έχουμε και τη συνδρομή 2 Ελλήνων μουσικών που έχουν αφήσει το στίγμα τους στην σκηνή. Αναφέρομαι στην Τάνια από τους Universe217 η οποία πραγματικά έκανε μια εκπληκτική εκτέλεση στο κομμάτι "Funeral Blues" και στον Χάρη των Hail Spirit Noir / Transcending Bizarre? που έδωσε ένα ιδιαίτερο vintage ύφος στο δίσκο. Περάσαν κι άλλοι μουσικοί εξίσου ταλαντούχοι που δεν κινούνται όμως στη metal κοινότητα. Όποιος ακούσει το δίσκο θα εντοπίσει όργανα όπως σαξόφωνο, κοντραμπάσο, φυσαρμόνικα, πιάνο, τσέλο και πολλά άλλα. Δεν είναι όμως οι συμμετοχές αυτές περισσότερο σημαντικές από κάποιους "αφανείς ήρωες", φίλους και άλλες μπάντες όπως για παράδειγμα οι Agnes Vein που μας στήριξαν με το τρόπο τους.

Η λέξη “extance” είναι πολύ ιδιαίτερη και μεταφράζεται ουσιαστικά σε “outward existence”. Που αναφέρεστε εσείς;

Προσδιορίζει την έννοια του ανθρώπου σαν κάτι εφήμερο και αναλώσιμο. Περιγράφει την παθητική συμπεριφορά απέναντι στον εαυτό του, στη κοινωνία και στην ίδια τη ζωή. Ίσως με μια δόση ειρωνείας, θα μπορούσε κάποιος να προσδιορίσει ακόμη και τον θεό έτσι. Εξάλλου, άνθρωπος-θεός είναι έννοιες που τροφοδοτούν η μία την άλλη.

Και στους τίτλους των κομματιών ακολουθείτε ένα παρόμοιο μοτίβο με τον τίτλο, κάτι που ταιριάζει και με τη μουσική δομή των κομματιών. Στιχουργικά λοιπόν ασχολείστε με αφηρημένες έννοιες ή στοχεύετε κάπου;

Νομίζω πως οι στίχοι είναι αφαιρετικά στοχευμένοι. Πραγματεύονται τον άνθρωπο και την οπτική που έχει για τον εαυτό του αλλά και τον έξω κόσμο... με ό,τι αυτό συνεπάγεται. Προσωπικές αδυναμίες, εξαρτήσεις, φθόνο, καταχρήσεις. Η λίστα είναι ανεξάντλητη. Μου αρέσει να δίνω ερεθίσματα στον ακροατή, να δείχνω ένα μονοπάτι, αλλά ο ίδιος να το περπατάει όπως και όσο θέλει.

Έχοντας παρακολουθήσει την πορεία σας από το “Phenomenon” EP και έπειτα, δε μπορώ παρά να επισημάνω τα βήματα προόδου που κάνετε κάθε φορά. Τι συμβουλές θα δίνατε σε μπάντες που ξεκινάνε τώρα;

Δεν ξέρω εάν είμαι σε θέση να δώσω κάποια συμβουλή. Γνωρίζω όμως πως ποτέ δεν απογοητευτήκαμε, ποτέ δεν ζηλέψαμε και πάντα προσπαθούσαμε να ξεπεράσουμε τους εαυτούς μας. Όλοι αντιμετωπίζουν δυσκολίες, αυτές όμως είναι για να ξεπερνιούνται.

Πως βλέπεις τη συνέχεια των Aenaon; Τι σχέδια έχετε από δω και πέρα;

Το line-up είναι ολοκληρωμένο. Αυτό σημαίνει πως πρέπει να κάνουμε πολλές συναυλίες και γιατί όχι κάποιο tour στο εξωτερικό. Στην εποχή μας βέβαια τα πάντα εξαρτώνται από το budget και ειδικά με τη κατάσταση που επικρατεί γύρω μας οι δυσκολίες γίνονται πιο έντονες. Το σίγουρο είναι πως θα συνεχίσουμε να παράγουμε μουσική γιατί χωρίς αυτή θα ήμασταν κενοί.

Παναγιώτης Φουντουκίδης
Metal Hammer


Against Magazine - 05/01/2014

2014 hasn't started yet and we already have candidates for the best album of the year. That's right, Extance is the sophomore album from Progressive Black metallers Aenaon and read my words: it's bloody amazing! This was an enough strong reason to chat with guitarist Achilleas C.

Interview: Joel Costa

Could you tell us briefly how AENAON formed?

Aenaon were created as an idea in 2005 by Thyragon. In 2007 the band started rehearsing with a full line up and after a while we recorded “Phenomenon” EP. Years passed and a lot of line-up problems occurred so in 2010 we reformed as a fresh band with new logo, new aesthetics and new goals. Up to day we still make changes and have finally reached a solid line up with great potential.

“Extance” is a very impressive album! Are you guys happy with the way it turned out?

Thanks for your nice words. Yes, we feel very proud of it and we are really confident that this album will make impressions. We have reached the point we wanted and even a little further. Of course you always find details or ideas that you want to improve next time, otherwise, you become stagnant. I am very happy the way it turned out and even happier for the journey we lived to create it.

And what did you set out to accomplish with this new record?

When we started working on this album we wanted it to be extraordinary, something that at least few, good listeners, will remember as a classic piece of extreme music. Another goal for us was to manage to construct something original but at the same time to preserve our Black Metal identity alive. Artistically we wanted passion, anger, conflicting emotions and to push the boundaries further more. Listening to this album after a year of devotion and hard work, I feel we achieved it.

Your 2011 debut “Cendres Et Sang” was critically acclaimed everywhere! Did you feel any pressure to make of “Extance” something even better?

Yes of course. We didn’t consider “Cendres et Sang” as a flawless album. Nor “Extance” is. Perfection is something that an artist should never stop chasing no matter how far. The pressure was from times to times suffocating us. We wanted a gigantic jump in every level, not just a step of improvement. Ideas, arrangements, performances, production - everything had to be better. If you don’t push yourself hard, you don’t improve anyway. I guess next album will be the same fucked up, painful working process. If not, that would mean we’re doing something wrong.

“Extance” is going to be released on January 2014, almost three years after your debut. How much did your new line-up contributed to this new record?

The answer is - very. Their musicianship is astonishing. Anax is an extremely talented guitarist and a very funny guy that always makes up our mood. Nycriz is a multitalented musician that brought into the band a lot of new elements. It was not easy to find them. New members had to be excellent musicians, people that we could hang out with, to be openminded, hardworking and of course to respect at the same time the black metal culture. Without them “Extance” would not be the same. Ι feel we learned many things from each other. That’s for sure.

For people who aren’t familiar with AENAON, how would you describe your sound?

Labelling is not pretty but it is necessary. According to our press kit we are an Avant-garde, Progressive Black Metal band. I think in most of the occasions these labels, “avant-garde”, “progressive”, “post” etc, are misunderstood both from the bands but by people too. “Avant-garde” means that you push the boundaries of the specific art you perform. I think we do that in a way. We are also “progressive” as we give attention to the progress and innovation of our music, we are not phenomenal performers but we try to express ourselves without being controlled by our skills but by controlling our skills. Finally, we do use Black Metal as a foundation. So, i think these are enough elements to describe what we do. Describing more detailed can only be done by listening to our music.

Who would you cite as influences?

That should be a secret I believe (he laughs). Seriously, our influences come from many different genres but can be detected from good listeners. Still, there are other influences that are obvious to us but impossible for others to detect. Complex but also more minimal and emotional sounds that we mix up in our minds to produce new material. If you go back at “Phenomenon”, the influences are more than obvious. Same applies at “Cendres et Sang” but with different artists as “guides”. “Extance” is in a much more abstracted level influenced, much more originality there to find. Success: I managed to trick your question almost like a politician.

What touring plans do AENAON have?

At the moment not much, just some gigs here and there in Greece to celebrate our newborn. This album did not only take much time and thought, but also money. Touring needs funding and we are unstable in that level. We must have patience to hit the right time if there is one. “Our fate has not revealed to us yet” - the old wise man of the village said.

What are your opinions on the Progressive Black Metal scene at the moment?

I really enjoy it and I’m really trying to follow every step, underground and more mainstream. On the other hand I feel that not many impressive albums come out every year so we could use some quality albums more for sure. Anyway, I think 2013 was a very good year with lots of good albums but I feel 2014 will be even better.

Would you say the listeners taste is leaning into more progressive fields these days?

Really hard question. To be honest, I don’t have a clue. This new age has brought so much diversity but at the same time so much fashion movements. If I had to make a guess I would say no. I’m not seeing any bands getting rich in this scene. I see many new bands but not enough followers. It’s the nature of this music. There are no killings, no church burnings not any kind of social rebellion within the progressive fields. That makes us boring to simple listeners. I guess bands in our field need some fucking attitude to draw attention.

What are your plans for 2014?

There is an idea for a new split but that’s still a little blurry. Releasing our new album, promoting it and performing some gigs are definitely in our plans. We are going to release a videoclip too - I hope. Anyway, thank you for the conversation and support. Cheers!


Tironas Magazine (Lt) - 02/12/2013

AENAON has been in existence for nearly 8 years but it has only been over the past 3 to 4 years you have emerged as a major force in the black metal scene. What was the reasons for group dormant phase since 2005 till 2009?

Astrous: Well, the first five years where difficult for us. Our line up was unstable. Each one of us was unstable in many levels. We knew we wanted to play extreme music and we wanted it to be unique. Elite if you will. We had a small vision but we weren’t ready to accomplish it. Personal problems, bad relationships and different tastes in music slowed us down and at the end after the “Phenomenon” release in 2009 we almost split up. When you reach bottom there are only two options: You die or you rise up stronger than ever. So it’s simple as that. We reformed with a better line up, a better vision, stronger hearts and minds.

Satanic symbolism plays quite a role in the nowadays black metal bands imagery along with some norse elements. How compatible are these two concepts of heathenism and satanism? (As essentially one is an honor based life code while the other focuses on the destruction of all life/ mankind)?

Astrous: I am not really into Heathenism nor Satanism. I used to be attracted to Satanism as a teenager but nowadays I find it a bit childish. I have strong opinion concerning religious matters and i also have a strong life code. I don’t want to sell these beliefs in simple heavy metal “fashions”. I enjoy bands with both elements but it’s really not my vision of making art. Concerning the second part of your question - I don’t think Satanism focuses just in destruction. In extreme music genres and especially in black metal it used to be a very angry reaction to Christianity and actually neopaganism in a way is also a reaction to Christianity. So there you go, they’re quite compatible.

Corpse paint also plays a heavy role in a lot of black metal bands imagery? Is AENAON following the suit? Furthermore how important is the black metal image for AENAON?

Astrous: Well, corpse paint and occultism is a tradition on this genre. After all I think each one of us who loves this music from the beginning was into this theatricality. Aenaon used corpse paint in the past after all. It’s not right to wear corpse paint and follow an image that doesn’t fits your personality and music. I love to see Taake or Watain with corpse paint but I see it also as a “kitsch” element in other bands. So it’s really a matter of “supporting” your image with the right attitude. We wouldn’t be true to ourselves if we were still using corpse paint. At the moment expressing our emotions through music is more important to us.

Your newest release „Extance“ delves into untraditional elements of black metal fuses with harsh vocals and progressive guitars rhythms also saxophone and piano sounds. What was the initial reason for choosing to embark on this style?

Astrous: The core of this band is still black metal but as i said before music is very important to us. We have to be open minded in order to take out the best of us in that level. There are times that we “delete” ideas or even recordings when we think it’s not good enough. That’s the only line. Black metal element comes out naturally - it’s in our hearts and it’s a poison that it may never go away - but it’s not a necessity. Progressive ideas or experimentations come also naturally so there is no reason to push them out. As I said we wanted to be unique from the beginning so you can’t be unique if you rule out what comes naturally. Being experimental and open to any ideas is part of our vision and a necessity to create the best music possible.

Do you think progressive sound may reflect badly on AENAON being taken seriously in the long term as black metal band since you have taken aboard some progressive metal elements?

Astrous: No. It’s 2014. People have easy access to uncountable music artists thus making them more open to new suggestions. Everyone in the black metal scene has it’s own role. I believe Aenaon’s role is to push the boundaries of this genre (that’s actually what avantgarde means in art language). There are other bands that may do that even better than us, obviously, but that’s not a reason to change our goal which is the absolute expression of our visions, feelings and ideas. If someone is annoyed and does not agree to call Aenaon black metal, he is free to call us whatever he wants. I don’t fucking care.

As you are the pioneers of the new genre/hybrid style of music do you believe other bands will follow the lead you have shown and if so, what is your opinion of this?

Astrous: I am very happy if we have managed to add something new but we didn’t invent the wheel, that’s for sure. There are bands (before and after Aenaon’s formation) that are more innovative and opened new paths that we followed too. The good part is that this “movement” is becoming stronger and more fans are interested in us and other bands that work their asses off for the best possible.

Release „Extance“ was mastered by Tom Kvålsvoll (Dødheimsgard, Borknagar, Emperor). Does he has set the idea on what he wants the tracks to sound like?

Astrous: Tom received the work quite finished but we have worked together many times so we know what to except from him to a certain point - that’s quite helpful in the mixing process. After all when Tom is doing the mastering you know that he is going to do his best and it’s going to sound the unique way Tom sounds. He is a great guy and very patient even when we make his life difficult.

Looking back at your first release EP “Phenomenon” released by Bleak Art Records are you still pleased with the result?

Astrous: Bleak Art was the first label to believe and invest on us. At that time they did their best. Of course after 5 years i see mistakes from both sides in production and promotional levels. Everybody starts from one point, what really matters is the journey and the point you finally reach.

The track which was solely responsible for evoking my interest in AENAON was” Deathtrip Chronicle”. What exactly is the story behind this track and its lyrics?

Astrous: It’s a track that describes the eternal quest of human essence after death. Subconsciously or not it is about the meaning of decay in human existence. No matter how creative man is, self destruction prevails. In order to pass these ideas I created a storyboard that starts in suicide gallows.

What kind of music do you personally listen as opposed to what may have given you inspiration for the works you create?

Astrous: I do listen to black metal of course and other metal genres but I also enjoy listening to jazz, blues, electronica, new wave and i’m really into 70’s prog rock. All band members have really intense musical personalities so I can’t be more precise to describe Aenaon’s influences.

How appropriate do you see Code666 for the music you create? If you could be signed to any label, which label do you feel would be most suitable for you?

Astrous: Code666 is a kind of Mecca in “weird” underground metal scene. We are very satisfied at the moment with Emiliano and his people, they really do their best possible. We demand respect to our music, understanding and faith in our potentials. Code666 comply these specifications.

Have you been included on any compilations? If so, which compilations have you been included on?

Astrous: I am not sure if I remember correctly but I’m sure there weren’t many official compilation releases. Razzorchristfukk was a good compilation by Razorbleed Productions, an independent, underground label. By the way, Razorbleed has just released an Aenaon compilation in cassette with previously unreleased tracks from 2009, rehearsal and “Phenomenon” tracks.

I gather that you would not be able to undertake music as a full time endeavour. Would this be your ultimate plan or would you prefer to make it an interest/hobby What occupation do you have to support your musical interests?

Astrous: I’m sure you know yourself how difficult is to survive by working on this music industry. It will never be just a hobby but I have made piece with myself that I won’t make money with what we do. At the end, money is not the real goal, it shouldn’t be for anyone who loves what he does. Personally, I work as a designer in Ra.Design. Most of us are officially unemployed but we find ways to survive.

Well, that was all for me for this time. I wish you and the band all the best in the future.

Astrous: Thank you Ernestas, it was really a pleasure talking with you.

Interview by Ernestas Bushmovichius


My Rock (Gr) - 02/02/2013

Οι Αenaon είναι αναμφισβήτητα από τις πιο ενδιαφέρουσες περιπτώσεις συγκροτημάτων που έχουν ξεπεταχτεί στην ελληνική metal σκηνή τα τελευταία χρόνια. Αιρετικά προοδευτικοί και ασυμβίβαστοι με τις παραδοσιακές μουσικές φόρμες,αφού κέρδισαν τις εντυπώσεις με την πρώτη τους ολοκληρωμένη δουλειά, ένα χρόνο μετά ξαναχτυπούν,αυτή τη φορά με μια split κυκλοφορία, η οποία φανερώνει τα χνάρια που θα ακολουθήσουν στο άμεσο μέλλον. Επικοινωνήσαμε μαζί τους και σας παρουσιάζουμε τη συζήτηση που είχαμε.

Σε τι φάση βρίσκονται αυτόν τον καιρό οι Aenaon? Μόλις κυκλοφορήσατε ένα split album με τους Stielas Storhett. Πόσο ευχαριστημένοι είστε από αυτήν τη συνεργασία και ποια η ανταπόκριση από τύπο και κόσμο ως τώρα?

Astrous: Καλησπέρα Μάνο, το split αν και έχει τυπωθεί δεν το έχουμε λάβει ακόμη εξαιτίας λάθους του εργοστασίου κατά την αποστολή του στην εταιρεία. Αν εξαιρέσεις αυτή την καθυστέρηση, είμαστε πολύ ευχαριστημένοι τόσο από την επαφή μας με τους Stielas Storhett, όπου είναι ένα συγκρότημα που το εκτιμάμε πολύ, όσο και με την αμεσότητα και ειλικρίνεια της Possession Prod. Τώρα η ανταπόκριση του κόσμου παρατηρώ πως είναι πολύ καλή, αν και υπάρχουν αρκετοί που ασχολούνται αποκλειστικά με full albums και όχι με κάτι τόσο ιδιαίτερο όσο ένα split 7"... Από την άλλη αυτό ήταν αναμενόμενο, για αυτό εξάλλου η συγκεκριμένη κυκλοφορία είναι μόλις σε 300 αντίτυπα.

Το 2010 είχατε συνεργαστεί με τους Ρουμάνους Satanochio και φέτος κυκλοφορήσατε το split με τους Ρώσους Stelias Storhett. To γεγονός ότι και οι 2 μπάντες κατάγονται από μη παραδοσιακές -για το black metal -χώρες είναι τυχαίο ή είναι κάτι που επιδιώξατε? Γιατί,πολλοί θα σκεφτόταν, ότι ένα split με μια ανερχόμενη σκανδιναβική μπάντα, θα ήταν καλύτερη, εμπορικά, κίνηση.

Astrous: Καμία σχέση. Συνεργαζόμαστε και είμαστε σε επαφή με άτομα, εταιρείες και συγκροτήματα που έχουμε ίδια αντίληψη για τη μουσική και τη σκηνή γενικά. Δεν ανησυχούμε από πια χώρα κατάγονται. Γιατί με τη σειρά του κάποιος θα μπορούσε να ρωτήσει το ίδιο και για τους Aenaon και την χώρα μας. Η Ελλάδα εκτός μερικών εξαιρέσεων δεν είναι και τόσο διαδεδομένη στον συγκεκριμένο χώρο και πολλές φορές εδώ έχουμε πολλά συγκροτήματα στο απυρόβλητο ενώ την ίδια στιγμή στο εξωτερικό παραμένουν άγνωστα. Βέβαια συμβαίνει και το αντίθετο...

Θέλω, αν γίνεται, μέσα σε λίγες προτάσεις, να μου πείτε πως ακουγόταν οι Aenaon στο ξεκίνημα τους και πως καταλήξατε σε έναν τόσο πειραματικό ήχο. Το avant-garde και το progressive στοιχείο ήταν κάτι που προέκυψε στην πορεία,ή αποτελούσε αυτοσκοπό σας εξ'αρχής?

Astrous: Οι Aenaon από την αρχή δεν ήταν η τυπική black metal μπάντα που όλοι μας φέρνουμε στο μυαλό, όταν ακούμε τις λέξεις "black metal". Ξεκινήσαμε πειραματικά τόσο με στίχους όσο και με δομή κομματιών στο πρώτο μας ep "Phenomenon", δεν ήταν όμως ο "πειραματισμός" αυτός που κάνουμε σήμερα. Όταν το μόνο σου κίνητρο στη μουσική είναι το πάθος είσαι ανοιχτός στις προκλήσεις και τις νέες κατευθύνσεις. Φαντάζομαι πως η μουσική πορεία των Aenaon προέκυψε καθώς στο σπίτι μας δεν ακούμε μόνο Darkthrone kai Carpathian Forest. Rock, jazz, blues αποτελούν ένα μεγάλο μέρος των ακουσμάτων μας.

Ακούγοντας σας κανείς, δίνετε την εντύπωση ότι προέρχεστε από ποικίλα μουσικά backgrounds. Nα υποθέσω ότι το black metal αποτελεί μια μόνο πτυχή της μουσικής σας ταυτότητας? Ποιες άλλες μουσικές σας συγκινούν, πέρα του ακραίου ήχου?

Astrous: Όπως σου είπα πιο πάνω, ακούμε μουσική που μας παθιάζει. Δεν ενδιαφερόμαστε εάν είναι από τον χώρο του metal ή όχι. Με το black ξεκινήσαμε και φυσικά συνεχίζουμε, απλά αντιλαμβανόμαστε πλέον πως υπάρχουν κι άλλα μουσικά στοιχεία με βάθος και ουσία, εκτός από αυτό. Επομένως γίνεται ένα μείγμα των εμπειριών μας και χωρίς στεγανά παράγουμε μουσική.

Από όλες τις ταμπέλες και κατηγορίες του ακραίου ήχου που κυκλοφορούν στις μέρες, ποια θα λέγατε ότι περιγράφει καλύτερα τον ήχο των Aenaon. Δίνετε βάση στα genres και τα sub-genres ή απλώς τα θεωρείτε ένα αναγκαίο κακό, που απλώς βοηθάει τον ακροατή να προσανατολιστεί?

Astrous: Η καλή μουσική παραμένει απλά καλή μουσική. Παρόλο αυτά είναι αναγκαίο κακό να σημαδεύεις με κάποια ταμπέλα τον ήχο σου. Προσωπικά τους Aenaon θα τους αποκαλούσα Progressive Black. Κατά καιρούς έχω πετύχει για τη μουσική μας διάφορες ταμπέλες... από avant-garde και μελωδικό black/death όσο και core (!). Το βέλτιστο για μένα είναι κάποιος που θα ακούσει Aenaon να μη μπορεί να μας κατηγοριοποιήσει κάπου, αλλά να ευχαριστιέται αυτό που ακούει και να καταλαβαίνει πως το κάνουμε με αγάπη και τιμιότητα και όχι για να ικανοποιήσουμε το ψωνιλίκη μας.

Πείτε μου δυο λόγια για το καινούριο σας κομμάτι "Εr". Προσωπικά σας άκουσα, εξίσου τολμηρούς, όσο και στο "Cendres Et Sang", τόσο στιχουργικά όσο και συνθετικά.

Astrous: Συνθετικά, πιστεύω πως είναι λίγο πιο "μοντέρνο" σε σχέση με το Cendres et Sang, στιχουργικά ίσως είναι η πρώτη φορά που οι στίχοι είναι τόσο άμεσοι και απλοί. Πάντα έγραφα στίχους με αρκετά περίπλοκο και συμβολικό τρόπο, με μια σουρεαλιστική τάση. Αυτή η απλοποιημένη προσέγγιση όμως που έχει το Er πιστεύω πως λειτούργησε υπέρ στο κομμάτι μιας και σε συνδυασμό με τους groovy ρυθμούς το έκανε να έχει πολύ καλή ροή. Πάντα μας άρεσαν οι προκλήσεις...

Το γεγονός ότι καταπιαστήκατε στιχουργικά με την πλατωνική πολιτεία και τον μύθο του Ηρός, δηλώνει απλώς την αγάπη σας για τη φιλοσοφία ή επιθυμία σας ήταν, μέσα την κοσμοθεωρία του Πλάτωνα, να αναδείξετε και κάποια σημεία των καιρών μας?

Astrous: Καμία συνωμοσία. Διαβάζω αρκετά φιλοσοφία οπότε πιστεύω πως είναι λογικό να παίρνω ερεθίσματα από αυτή. Αυτό πάντα γινόταν στους Aenaon. Καταπιαστήκαμε με αυτό γιατί πολύ απλά ήταν ενδιαφέρον και πιστέψαμε πως θα μπορούσε να αναπτυχθεί σε συνδυασμό με τη μουσική μας. Ελπίζω να το καταφέραμε.

Η ιδέα να τοποθετήσετε στη γέφυρα του κομματιού ένα απόσπασμα από τον "Τελευταίο Σταθμο" του Σεφέρη,πως προέκυψε?

Astrous: Ο Τελευταίος Σταθμός του Σεφέρη είναι ένα σημαντικό ποίημα για τον πολέμο του '40 που περνάει σε πολύ προσωπικό επίπεδο μέσα από την απαγγελία του ιδίου. Θεωρήσαμε πως μια τέτοια ένωση με την ιστορία του Ηρός, ενός μυθοπλαστικού ήρωα (που πέθανε στη μάχη και επέστρεψε από τον κάτω κόσμο για να αφηγηθεί στους ζωντανούς την εμπειρία του), θα ήταν κάτι ιδιαίτερο και συμβολικό τόσο για την διαχρονικότητα κάποιων ιδεών όσο και για τον φόβο των ανθρώπων απέναντι στο θάνατο και την αγωνία για τη ζωή μετά από αυτόν.

Πόσο εύκολο είναι για έναν καλλιτέχνη να εκφραστεί και να δημιουργήσει μέσα σε ένα τόσο τεταμένο πολιτικό σκηνικό και σε ένα κλίμα κοινωνικής αστάθειας. Επηρεάζει η πολιτική και τα κοινωνικά δεδομένα την τέχνη των Aenaon ή όταν πιάνετε τα όργανα,όλα τα υπόλοιπα μπαίνουν σε δεύτερη μοίρα?

Astrous: Υπάρχουν πολλές φορές που η πίεση είναι κυρίαρχη. Δεν βγάλαμε ποτέ χρήματα από την μπάντα, κι όμως μας τρώει ίσως το μεγαλύτερο κομμάτι της ζωής μας. Φυσικά αυτό γίνεται πιο έντονο όταν ερχόμαστε σε επαφή και με πάγια ζητήματα επιβίωσης, αλλά η ασχολία μας με τους Aenaon ήταν και θα είναι ανάγκη και εξιλέωση...

Σε λίγες μέρες ολοκληρώνεται το 2012, μια χρονιά με πολλές και καλές κυκλοφορίες. Ποιες μπάντες σας εξέπληξαν ευχάριστα και ποιες δυσάρεστα? Πως βλέπετε τα πράγματα στην ελληνική σκηνή και τι πιστεύετε ότι θα τη βοηθήσει να ανθίσει περαιτέρω?

Astrous: Ανέκαθεν υπήρχε καλή και κακή μουσική, το θέμα είναι ο καθένας μας πόσο διατεθειμένος είναι να ψαχτεί με αυτό. Δεν πιστεύω σε κάποια σκηνή... Αυτό όμως δεν σημαίνει πως δεν υπάρχουν συγκροτήματα που μου αρέσουν και τα σέβομαι. Τώρα για το 2012 θα σου πω απλά το δικό μου top-5:
1) Hexvessel - No Holier Temple (2012)
2) Nachtmystium - Silencing Machine (2012)
3) Swans - The Seer (2012)
4) Enslaved - RIITIIR (2012)
5) ICS Vortex - Storm Seeker (2012)

Σίγουρα η μουσική σας αφορά περισσότερο άτομα, με πολύ ιδιαίτερο και συγκεκριμένο μουσικό γούστο. Απευθυνόμενοι σε αυτούς, θα ήθελα να τους προτείνετε κάποιες μπάντες ή καλλιτέχνες (και πέρα της μουσικής αν θέλετε) που αξίζουν την προσοχή τους και πιθανόν να μην τους γνωρίζουν.

Astrous: Χμ.. Θα ήταν πολύ εύκολο να αραδιάσω μια λίστα... Είναι όμορφο ο καθένας να ψάχνεται και να ανακαλύπτει μόνος του, την τέχνη που θα τον συγκινήσει.

Υπάρχουν πλάνα για κάποια live εμφάνιση?

Astrous: Ναι, σύντομα θα ανακοινωθούν. Είμαστε έτοιμοι για συναυλίες οπότε όποιος ενδιαφέρεται μπορεί να επικοινωνήσει απευθείας μαζί μας.

Κλείστε με ένα μήνυμα για τη νέα χρόνια και ότι άλλο θέλετε.

Astrous: Μάνο σε ευχαριστούμε πολύ για το χρόνο και τον ενδιαφέρον σου. Εύχομαι στη νέα χρονιά να υπάρχει πολύ μουσική, υγεία και φυσικά έμπνευση.

Μάνος Δασκαλάκης


Black Terror Metal (It) - 06/07/2012

1) You are a new band, so give me a brief history.

Achilleas C.: It was in Larissa, Greece 2005 when 5 metalheads met and decided to create Aenaon. We all had the experience (Varathron, Obsecration, Black Winter, Dunkel etc), skills and the need to play aggressive and technical black metal. So in 2009 we released our first mini album "Phenomenon", in 2011 we released a 7'' split with Satanochio and in june 2011 we signed with Code666 and released our first full length "Cendres et Sang" making also the decision to start a more experimental path in our music.
2) Your debut album is entitled “Cendres Et Sang”. I review it on my website and I think is a great first step: is modern, technical but respect old black metal tradition. So what can you tell me about it ?
Achilleas C.: What really happened is that there are elements that we love and hate in both modern and traditional black metal. So, we decided to be raw and modern at the same time by incorporating other elements like jazz, blues, electronica etc. Good traditional black metal has true feeling to us but doesn't complete us as musicians. What really matters is that if someone gives the attention and time needed to understand "Cendres et Sang", it won't matter if it's avant-garde, technical or raw but simply that behind the music is true and dark passion.
3) I find very interesting the use of instruments such as saxophone. Where does it come from  the idea to put these elements in your music?
Achilleas C.: We must admit that we're not the first band to do this in black metal and if someone tries to find the first one, probably will fail. I remember in the very early 90s Necromantia using a saxophone with such a raw and weird way and a kid today might say that Ishahn or Solefald is the first one to do this. We might be both wrong and it really doesn't matter. We chose to use the saxophone and we are going to use it more in the future simply because there are already Jazz artists out there like Bohren & der Club of Gore (and not only) that proved us all how dark modern Jazz can be. The first experiment on "Cendres et Sang" was very successful so why not?
4) In this new album there is a cover song from David Linch movie’s “Eraserhead”. What about it ?
Achilleas C.: Well, Astrous, our frontman and singer is a big fan of David Lynch and Eraserhead movie so he had the idea of somehow using the theme of "lady in the radiator song". We all find the idea fascinating and started working on it. Thomais (Dakrya) performed some amazing jazzy female vocals and two more friends and musicians worked on the piano. So, "In Heaven" is actually the combination of 7 people ideas to create a 5 minute track based on a 20 second music theme. Pretty cool…
5) The song “Grand Narcotic Harvest” features guest appearances by V'gandr of Helheim. Why the idea of this collaboration was born?
Achilleas C.: "Grand Narcotic Harvest" is one of the most aggressive and epic tracks on the album so we though that V'Gandr would fit great on this. We sent him our proposal and he happened to be a great and really friendly man. So the result was great as he really did his best. When you listen to him on the track you can really feel his creepy and epic vibe.  We had ideas for some other guests too, but you see, some people are too "rockstars" to even answer.
6) How was born the new album amazing artwork? What represent the illustration?
Achilleas C.: We were amazed by Lukasz Wodynski's art and really find his work unique… and quite sick in a good way hehe. He is also an amazing guy so he was kind enough to give as the permission to use his art. I'm not probably the best man to speak what the artist represents but through our eyes we saw the perfect way to represent a dark aura of the human body and soul. "Cendres et Sang" which means ashes and blood stands out for this macabre and organic existence. 
7) Recommend to readers some new albums that they have particularly catch your attention.
Achilleas C.: Well, i really prefer and actually believe that the good stuff comes most of the times from the underground and not the mainstream. For example bands like Stielas Storhett, Mord'A'Stigmata, Smohalla released amazing albums this year and Hail Spirit Noir just released a very unique album. I also really enjoyed the new Blut Aus Nord album.
8) Greece has always been forge of great names (Rotting Christ, Necromantia, Varathron), but now shall we talk about a Greek black metal scene?
Achilleas C.: You see it's not only the Greek black metal scene that changed or faded away. Generally extreme metal is now officially pop. I don't know if you know what i mean but when an art form becomes so popular you can't speak of movements but of trends. To answer your question, there is no such thing as Greek black metal scene anymore, there are some bands that try to play the way the Greek bands in early 90s played but there in no new movement, new ideas or unity and of course how the fuck would the Greek bands do something competitive when there in no money to even record or buy some decent live equipment. Scandinavians can afford to have a scene. We don't. So simple.
9) How do you see the future of your band, what are your hopes?
Achilleas C.: If we manage as a band with needs to survive the Greek realty, we're not hoping but we are sure to conquer a lot of black souls with new unique releases and finally some live action.
10) Would you leave a message to the “blackterrormetal” readers ?
Achilleas C.: Thanks for your interest and thanks for reading. Cheers from Greece.


Mortem Zine (Cz) - 13/09/2011

1. Greetings to the sunny Greece! I am glad that we can do an interview with you because all of us from the editorial staff think that people will talk about you a lot now that you have released "Cendres et Sang". So how're you doing in these days? 

Astrous: Hello Mister, thank you very much for your kind words, I hope your expectations about Aenaon will come true, but honestly this is the last thing that we have in mind when we talk about music! Anyway, things are going fine, we are trying to do some vacations at the same time that we are still in work.... Funny and strange thing but necessary. 
2. Demo, EP, split album, and now the debut. Before we start speaking about the debut album, could you sum up everything that preceded? What affect had these recordings upon you? 
Astrous: The journey started back in 2007, when we released a promo cd. In 2009 our first official work, “Phenomenon” mcd was finally out and after that we had a split 7’ named “A Parallel Zoetrope” with the Romanian guys, Satanochio. All these releases were and still are important for us. We learned a lot of things about the scene and how does it work. Year by year our experience is growing up and this helps the band to do more mature moves than the past. 
3. EP "Phenomenon" was released by canadian Bleak Art Record. In my opinion, that's a big success. And the new album is released by Code666. That itself indicates certain qualities. How did you managed to cooperate with Code666? 
Astrous: Joseph from Bleak Art Records is really a crazy guy! He helped Aenaon as he could and I have shared with him a lot of hours talking about music and sometimes about silly things... hehe. On the other hand, we had to move on and try for something more closed to the band tastes. Emi and the rest guys on Code666/ Aural Music, are doing a great job. Considering that a band like Aenaon is part of a label like Code666, I think that is for sure a good match. We talked with some other labels too, but Emi was straightforward and comprehensive with us. I think that being part of this label is a success from itself. 
4. How do you feel amongst bands such as Fen, TAOP, TMK, and Control Human Delete? Do you know any of them in person? What's the atmosphere like under the Code666 team? 
Astrous: It’s pretty cool to share the same label with the bands you mentioned. All of them are well-respected in the “weird” black metal society and we are listeners of them too. Everything is running so fast for Aenaon and we didn't get in contact with any of them yet, but we will, in the near future. 
5. Let's talk about "Cendres Et Sang". In my opinion, it's a huge suprise. I was very pleased by the saxophone which is not commonly used in the black metal genre. So why did you use it? I guess you are jazz fans, am I wrong? 
Astrous: Yeah, we like jazz among other genres but it wasn’t something scheduled. It just happened... We are open minded individuals and we like to explore our options in music. I hate some persons that still are talking about “true black metal”. Saxophone is a unique organ that produces very special sound, full of feelings and atmosphere but in the same time could create aggressiveness and darkness. Something like Aenaon music. 
6. I didn't mention jazz by accident. I noticed it in a lot of moments of your album. Twists, methods, and most importantly a huge sense of every single instrument and composition. What can you tell me about that? 
Astrous: Astrous: We gave a lot of attention in the composition level. As you, we are fans of music, especially of black metal and the latest years most of bands invest in everything else except their own sound... Great productions, wonderful photos, excellent promotion and spaming but what about music? Very few bands deserves trully the attention and this is something that really makes me sad. I really love when I listen a new good album and makes me feel like a 15 years old child. When we started to compose “Cendres et Sang” our only goal was to make good and unique music… I hope that some guys will feel this, if yes, partly our goal is achieved… 
7. "Cendres Et Sang" means "Blood and Dust". Why did you go for French and why did you choose this title? 
Well, I think the best translation is “Ashes and Blood”. The title symbolizes our organic origin... death and life, ashes and blood… We thought that these two words are representing 100% the songs in music and lyrical level, but to tell you the truth, in English this title was sounding in our ears a little bit childish. So we tried to translate it in Greek, German and French. Finally French language won because has the privilege to sound at the same time elegant and cruel. 
8. I am interested in the title of the opening instrumental track – "Kafkaesque". The question is then absolutely obvious. Why Kafka? 
Astrous: Franz Kafka is one of my favorite writers. The term Kafkaesque is used to describe works with surreal distortion and often a sense of impending danger. I thought that was perfect to name our intro with this term. It is like to unlock the whole album with the title of the first track and gives the listener the right perspective about what's coming next. 
9. I have been listening to your album for a long time and for the whole time it is still able to surprise me. It's unbelievable how much you put into those fifty minutes. Every track has its own status and it is more than a pleasure to figure them out. Many passages sound very spontaneous, but on the other hand look very coherent. What does your composing look like? 
Astrous: All the process of composition and recording was quite painful because all the members of Aenaon at this period are living in different cities. So as you can understand this situation had enough difficulties from itself. The good thing is that we are leaving in the century of internet and this makes our lifes much more easier. Achilleas C. is the composer of the songs. He presents us songs or riffs and all together we decide about their structure etc. It's a little bit strange way to create a whole album, but I think that this was one of the reasons that some passages, as you mentioned, are sounding spontaneous and some others coherent. I am also responsible for the lyrics section. 
10. Music is full of emotions and all kinds of moods that influence the atmosphere of your record. A part is caused by the music complexity. Technique vs. Atmosphere – it's often difficult but many bands show the importance of both and they're even successful. What are your priorities? 
Astrous: Hm.. We don't create priorities... We let the riffs and songs guide us. I think that this is the reason some parts of the album are atmospheric and some others more technical or prog. The basic line that we are following is very simple, we don't want to listen our songs and getting bored. So that's why the songs have a lot of different rythms, solos, different kind of vocals, slow and fast parts... 
11. What's the story of "Cendres Et Sang"? What is the message of your record? 
Astrous: Jesus loves you! haha. Seriously now, "Cendres et Sang" isn't a concept album, but all the songs have common ideas. This time I gave my attention to psychotic surrealism, the human nature and everything that defines it... self destruction, addictions, religion are a small example about what you can deal. 
12. Besides of music you care about the visual side. Why did you change your logo after the debut? 
Astrous: This is a strange story and maybe a spicy one. Our old logo was designed by our old guitarist, Draugen. When the "Phenomenon" mcd was released, after some months we received an e-mail (a little bit threatening) from Vinterriket band, telling us that we had stole their logo. The truth is that if you reversed the old Aenaon logo you will see a lot of similarities. But searching about trademarks and copyrights, this wasn't a problem, because the logos wasn't the same neither we were trying to use the "name" or the "recognition" of Vinterriket. Regardless of that we had no legal problem, we didn't want to see our name linked with another bands and people claimming that our logos look alike. For that we decide to change it. This period the line-up had some changes (Draugen also was out of band) so it was the right time for this change. Asking me now, I don't know if Draugen had in his mind the Vinterriket logo when he was drawing the Aenaon logo. Finally I talk with Christoph of Vinterriket and explain our position. The problem was solved and we trade some cds too. 
13. You are posing on the junkyard in your promo pictures. Why the junkyard? :) 
Astrous: Obviously because we think that the photos in forests are a little bit chliche! It's a little bit opposite... black metal and junkyard, but if you will think it, the junkyard is the place that humans hate... they rid of anything useless and hateful to them. But I must admit that we took some shots in a castle too. Some times we are really close minded persons, hehe! 
14. And from the junkyard to the stage, I mean, what about your live shows? 
Astrous: We hate live shows. We are misanthropes and the only reason to be on stage is for money. When someone will pay us a lot of money for a live apperance, we will do it. Now, I guess I should also tell you the truth, heh! We want to do live shows and we believe that this is really important for Aenaon. Unfortunately, some months before our drumer left the band and now we are searching again for a new one that can perform right our music and be also a person that fits us. This of course is not easy for Greek standards but it's the first big step to get back to the stage again. 
15. Well this is the end of my questions and the word is now yours. You have a free space to tell our readers anything you want to. 
Astrous: Sometimes I love laconism... so I hope you'll enjoy our new album and don't forget, live your addictions! 
16. Thank you for the interview. I wish you a successful future and hope some day we'll see each other in the Czech Republic. 
Astrous: Thank you very much for the intersting questions and your support. It's much appreciated. All the best for you and Mortem zine!
Posted: Dufaq


Blackened Horde Zine (Us) - 10/09/2011

Summon: How did the band get started?

Achilleas: The band started at the year of 2005, from some persons with the same vision about music.
Summon: What kind of music do you play?
Achilleas: Progressive Black Metal with jazz elements, or else just avantgarde black metal. You can call it whatever you want.
Summon: How has the band response been?
Achilleas: The response is quite good. The are a lot of people out there who seem to really like what we do. On the other hand there always going to be people who think our music is "not experimental enough" and others who find it "not true enough". If you want to make happy everyone you can play pop music.
Summon: Where did the band name come from?
Achilleas: It's an ancient Greek word that is still in use and means: the infinite, inexhaustible, eternal
It's coming from two other Greek words: (adv) ae=forever and (vit) nao=flow. The ever-flowing existence. With this word is described the existence of human soul, the endless universe and a lot of different and mysterious things about life and death.
Summon: Introduce the band members
Achilleas: I am Achilleas and I play the guitars, Astrous is doing the vocal parts, Dagwn is the other guitarist and Thyragon the bass player. This period we are in search of a new drummer.
Summon: Who writes the music? Lyrics?
Achilleas: Astrous is writing the lyrics and works the concepts. I am in a big part responsible for the Aenaon compositions.
Summon: And where do the lyric ideas come from?
Achilleas: The album "Cendres et Sang" is dedicated to human and his mortal existence. We like to observe human from different perspectives. Some times like a drug and abuse addict, other times in a spiritual way and other times like a cold beast. A lot of writers are influencing Astrous' lyrics and some of them are obvious even from our titles.
Summon: What is your view in Satanism and Occultism?
Achilleas: Silly beliefs. All religions created by humans for humans. I am quite rationalist about this subject. I enjoy the theatrical side but can't really take those things seriously… modern Satanism is interesting but it's really naive in many ways.
Summon: How many albums/CD's have you released?
Achilleas: We released a Mini-CD "Phenomenon" at 2009, one split 7" inch with Satanochio (a Romanian band) at 2010 and finally before few months our first full length album "Cendres et Sang" under the mark of Code666.
Summon: Tell me about some of the songs on the latest CD?
Achilleas: I wish you were a little more precise hehe. Well, i think every track is a different experience. You'll listen to some raw black metal but you're also going to listen from time to time a complete unique experience. I think it's important to mention "In Heaven" track as it is a cover based on the David Lynch's "Eraserhead" soundtrack. We are also pride to have Thomais from Dakrya on some amazing jazzy female vocals on this cover. Also it's important to mention that V'Gandr from Helheim is doing some guest vocals on the "Grand Narcotic Harvest".
Summon: Do you have any side projects?
Achilleas: I am also playing at the occult band Varathron since 2003 and Dagwn is playing at Nethescerial, a symphonic black/death metal band. The rest members are not involved at the moment in any other band. There are some more side projects but not yet to announce.
Summon: Who are some of your musical influences?
Achilleas: Well, DHG or Ved Buens Ende are bands that we all in the band respect but i don't think that we really sound alike. You know there are so many influences in our music from King Crimson and Eloy to traditional Black metal sound that it is useless to make some kind of list. Concerning the jazz elements i could say that Contemporary Noise Quintet and the music of Bohren und deer Club of Gore are a powerful influence.
Summon: What is the band like when you play live?
Achilleas: Well, unfortunately it's been almost two years since our last tour so it would be silly to answer the question. Now, i must admit that we care more about making really unique and special music than playing it live. The only thing i can promise you is that we're going to start live shows soon again and it's going to be a fucking Armageddon.
Summon: Do you have any type of stage props or special clothing?
Achilleas: Playing this bad-ass music and enjoying it on stage is enough for us. Plus, we are musicians not fashion models.
Summon: What was the best band you played with?
Achilleas: It's really subjective and maybe insipidity to answer...
Summon: Have you guys ever played in another country?
Achilleas: Not yet, but as i already told you Aenaon wasn't really a live band. So i guess now if we start live shows again we are going to visit a lot of European countries and of course wherever we are asked to play.
Summon: How big of crowd shows up at shows usually?
Achilleas: It depends, some times 300 people others just 50. It's not an easy question to answer. It's not the same thing playing in a fest or in a small club.
Summon: How is the crowd response when you play?
Achilleas: We are devoted in our performance, not to watch the crowd. However I think they response pretty well.
Summon: What do you think of the US Black/Death Metal scene?
Achilleas: A great scene with great bands but some times with stupid bands too. Of course it's a huge country with a huge scene. My favorites are probably Nachtmystium and Wolves in the Throne Room. Concerning death metal bands it's a different story but i really love Vital Remains.
Summon: What do you think of the Overseas scenes?
Achilleas: I think that they are listening more old school stuff, that European scene has already surpass. Both sides must be more open in new or old elements in music. As Aristotle said, Moderation is best.
Summon: What are some of new favorite Black/Death Metal bands?
Achilleas: Hard to choose, there are a plenitude of good bands. In Lingua Mortua and <Code> are really an apocalypse, hope they'll manage to continue playing such good music in their future works too.
Summon: When do you guys plan on writing any new material?
Achilleas: We already have some ideas for new songs, but there is no time to be hurry. Good songs need time.
Summon: What does the future hold for the band??
Achilleas: Releasing good music and playing some good live shows. Definitely we don't want to be another "rock star" band. We compose music and have good time. Pushing ourselves to our creational limits is all about Aenaon. That's enough. Thank you for this interview. I enjoyed it.
By Summon:


Heavy Metal Tribune (Sg) - 25/08/2011

Aenaon has been causing a stir since their formation in 2005, with their ability to fuse unconventional elements such as jazzy sounds into their brand of black metal. Their ability to still sound coherent despite influences from opposite ends of the musical spectrum is obvious on their full length album, Cendres et Sang, possibly one of the better albums that I have encountered thus far this year. We talk to composer and guitarist of the band, Achilleas C. to find out more.

HMT: Hi Achilleas. Thank you for giving us this opportunity to talk to you. Before we start off the interview proper, would it be possible to give our readers a brief introduction to the band?

Greetings to you and to Heavy Metal Tribune too. Aenaon were formed back in 2005 in Greece by Thyragon and Draugen but became really active in 2007 with live shows and a Promo that was actually released by Bleak Art Records later in 2009 as “Phenomenon” EP. In 2010 the line up changed and we decided to change also the identity and the logo of the band. Aenaon transformed from a Zyklon or Emperor influenced band to something more original. We released a 7’’ split with Romanians Satanochio in 2010 as a test before our full length and in June 2011 we signed with Code666 and released our first full length “Cendres et Sang” introducing an original and avant-garde black metal sound to our fans.

What is the meaning behind the band name, Aenaon and what is the significance and how does it relate to the music that the band plays?

“Aenaon” means in Greek language “infinite”, “indestructible” or “the ever-flowing existence”. With this words ancient Greeks described the existence of human soul, the endless universe and a lot of different and mysterious things about life and death. Our name really combined those ideas and I believe the word “Aenaon” is exactly what we want to achieve through this band. Infinite and indestructible black metal art.

It was not until 2008 that the band’s lineup was finally stable. How did the current lineup come about?  

Actually I think it was about 2009. Astrous and Thyragon really wanted to keep alive the band after Draugen and Vanghmar left Aenaon. After a while, around 2010 they contacted me and Dagwn to reunite the band and to do something different and even more challenging. So here we are now being stronger than ever with a solid line up.

Let’s now talk about the band’s recent full length album, Cendres Et Sang. How has the release been received in the extreme metal community so far?

I think very-very good. We got a huge amount of new fans and very good and exciting reviews. There is a small amount of pretty old school black metal fans and reviewers that think what we do is not “true” enough compared to “Phenomenon” but no problem for us. We are “true” enough to ourselves.

In the album, on top of the standard black metal styles, unconventional styles of music such as some jazzy elements were spotted. What was the reason behind incorporating these styles into the music on the Cendres Et Sang?

Yeah, you know we didn’t actually combined exactly on purpose jazz or other styles in our music. All of us listen and influence from a lot of different stuff, jazz or electronica music, painting, movies or any other art. This sounded the right way to express our emotional rage. We really liked the result and we want to expand these jazzy elements in the future. Plus saxophone can be so “dark” and “smooth” at the same time that is really a musical weapon for as from now on.

With the inclusion of guest musicians on instruments like piano and saxophone on the album, what was the songwriting process like?

We wanted to leave those musicians feel free to expand their way of view into our music so we just told them what we want in an emotional level. We had already a solid black metal base in our tracks so it wasn’t so difficult to combine those too. Well I think it would be a little more complicated and challenging for us in the future as we want to experiment more.

The band also had V’ Gandr of Helheim and Aeternus on guest vocals for the album. How did that collaboration come about and was there any reason in picking him for guest vocals in particular?

We wanted to have some guests in vocals too and of course we communicate only with artists we really respected. V’ Gandr was one of them and his amazing and friendly response was the reason to have a great collaboration. We are fans both of Aeternus and especially Helheim so it was great to have him and he really did a great performance.

The album title, Cendres Et Sang roughly translates to “Blood and Ashes” in English. Are there any particular running concepts or themes behind the lyrics of the album, and if so, what are they?

No, I don’t think there is really a concept but we thought this is a good title that is expressing most of the album’s lyrics. This album is dedicated to human and his mortal existence. His abuses, his pain, his madness, the beast inside him and of course his needs to believe in something higher than himself. This two words explain the organic and spiritual level of human as also life and death as a part of human’s nature. We chose French language just because we liked the way it sounded.

When writing the lyrics to Cendres Et Sang, where did the band draw inspiration from?

Well I’m not the right man to answer this question as Astrous is in charge of Aenaon’s lyrical ideas. If you read the titles of our tracks you will find out some obvious inspirations, for example “Kafkasque” is dedicated to Kafka and “In Heaven” is a cover based on David Lynch’s Eraserhead movie. So you know, some good books, some good movies and generally good and emotional arts. Our Greek philosophical legacy is also always an inspiration too.

What about the album art? How did the inspiration for the album artwork come about and what was it that made the band decide to approach Lukasz Wodynski to do the artwork?

Well we knew him and we really believe he is one of the greatest painters at the moment. His style is unique and we felt that he is the right man to express our music through his colors and images. We contacted him, he liked our music and we were lucky enough to collaborate. I hope he will continue to work with us in the future.

With the many guest instrumentalists on the album, how does the band bring the album to live during live performances? What are the greatest challenges musically when performing live?

Well the worst part is that we haven’t started live shows yet as our drummer left the band just before “Cendres…”. I don’t really think we will have any problems with the other instruments as this can be solved with pre-recorded material as the most of the bands do and we’re also thinking about having a saxophonist in our line-up. The difficult part is to find a decent drummer.

What will the short term plans for Aenaon be now that the full length album has finally been released?

As I already said, it’s very important to solve some small problems and start touring immediately. Also we have in mind to release one more 7’’ split vinyl. We have already started to search for a second band that can fulfill this idea and release together something more than just interesting.

Finally, the last words are yours!

Thanks for your interest and we wish you and our fans to enjoy our new avant-garde beast. Our salutes to Singapore and Heavy Metal Tribune!

Author: Hong Rui


Nemesis Webzine (Rs) - 04/08/2011

Hello Achilleas, you just brought out a new album. What can tell us about your newest release?

Hello Petar, "Cendres et Sang" is our third release after EP "Phenomenon" and "A Parallel Zoetrope" 7'' split with Satanochio, a Romanian band. It's our first full length album and we really worked hard on it. It's an album for open minded individuals, you'll listen to experimentations but you'll also listen to pure black metal. It's released by the Italian Code666, mastered at Strype Audio by Tom Kvasvoll and with participation of other artists that helped us to create something even more interesting.
How much is the new material on “Cendres et sang” different than the older material?
Well "Phenomenon" EP is I think a little more brutal, technical and high tempo. You could say that it is more in Thorns' or Zyklon's vein. Our next release "A Parallel Zoetrope" is more like a bridge between "Phenomenon" and "Cendres et Sang" which is a lot more experimental but more emotional too. I think even if we changed a lot between those releases you still listen the same band. It just feels a little more personal and a little more challenging now…
What are the lyrics about?
In "Cendres…" there isn't any standard concept. The tracks have a common lyrical path, the nature of human emotions, flesh, ambitions, self destruction and abuse. There is a variety within every track so if you listen to "Psychonautic Odyssey" the lyrics are about a journey through madness, "GNH" is a hymn to self destructive addictions, "Necroscope" is humanity from the perspective of the dead, "Suncord" is human's path to theosis etc.
I noticed that you have a lot of Jazz influences on your record. Why is it so? Do you like to listen to Jazz?
Well, you can find common emotional ground in very different styles of music. I believe that you can express same feelings with different tools. If we didn't have an electric guitar and a set of drums we may have to express ourselves with a different way. From the other hand we like BM not only us a music but just because it's stupid, in a good way, the cult way. So yes, we like to listen jazz or electronic 70s rock or classic music and sometimes these influences come out but even then, the feelings are still same. Black.
What influences the music and also the lyrics of Aenaon?
We don't influate from something specific. It could be a movie or an image or a good writer. On our past works we really wanted to express the power of mathematics, logic and chaos through our Greek legacy. Now on "Cendres…" it's a little more emotional, so sometimes it could be just a sound or a movie that would trigger a new idea, a way to express a feeling.
The cover of your new album is taken from David Lynch's movie Eraserhead. It’s very dark and it suites your music. Where did you get the idea for it?
Well, it's one of Astrous favourite movies, so he just had this epiphany. I found the idea interesting too, so we worked it all together, plus guest musicians like Thomais from Dakrya and the pianist Vasilis Agiomyrgianakis helped us upgrade the cover.
On your new album V’gandr from Helheim is a guest in the song “Grand Narcotic Harvest”. How was it to work with him?
At that time Helheim were working on "Heiðindómr ok Mótgangr" (kick ass album by the way!), so it was really appreciated by us that he gave us some of his precious time. We just e-mailed him and he agreed and went to the studio. I must admit we didn't expect such a good and friendly response. We're still in touch, he's an amazing guy.
The members of Aenaon play also in some other bands like Varathron and some others. Is it hard for you guys to practice and make new material for Aenaon beside these other bands?
At the moment Astrous just left Disolvo Animous and it's been 3-4 years since he left Black Winter too. Dagwn is the frontman of Nethescerial but I think he has no problems working with us too. I guess I feel a little pressured sometimes playing with Varathron too, but Stefan Necroabyssious and Haris (drums) are dealing with most of Varathron's obligations.
Achilleas, you also play in Varathron. What is going on with Varathron these days? Will you soon release another album?
Well we are recording some tracks for a split CD and we just recorded and working on the mix of a new track that it's going to be released as a 20 years anniversary of the Necromantia split. It's going to be in a 7'' vinyl format and we really can't wait to hear a new Necromantia track too. We're also working on a new album but I think it will take us at least one more year to complete it.
Will you go now on a tour with Aenaon?
I hope so! After summer we're hoping to start live shows immediately but at the moment our drummer just left the band.
What are you future plans with Aenaon?
As I already said we feel that we should start live shows as soon as possible. We also started already working on a new album and we are always looking for interesting bands for small split releases as this proved to be a perfect test before albums for us.
The Greek BM scene has some interesting bands that always go another path than the rest of the BM scene worldwide. Why is this so in your opinion?
I don't know if I fully agree with you. I personally believe that there was a powerful era at the very early nineties when bands like Rotting Christ, Necromantia, Varathron, Nightfall, Sadistic Noise, Deviser etc where really playing a unique style of BM. This was also interesting as the Scandinavian BM was making its first steps too. At the moment I don't feel the same for the new BM Greek scene. We have many good bands but we're still not doing something extraordinary. Greek bands - and other European BM scenes must stop chasing Scandinavian BM quality. We must respect and support our own scenes and try making our unique works of art.
Could you recommend some new Greek bands?
Yes of course, I really liked the latest albums of No Hand Path, Transcending Bizarre?, Universe217 and Agnes Vein. I should also mention pretty cool bands like Enshadowed, End, Bohemian Grove, and Profane Prayer. I'll recommend more bands on our next interview hehe...
Any last words?
Thanks Petar for your support and it's been an honor to participate on the first steps of Nemesis Webzine! Hope you enjoy our album!
by Petar


Metalicos (CR) - 27/07/2011

Several months ago published the review of Phenomenon, a short EP from the Greek band Aenaon.  Its 25 minutes were enough for us to know that this ensemble had something special in their hands.Now, with their debut album released not a couple of weeks ago, Aenaon returns more notoriously than ever, backed by code666 records (home to Ephel Duath, Fen, The Axis of Perdition and –up to very recently– Negur? Bunget).

They’re taking the black metal scene by storm with a work entitled Cendres et Sang, which is a delicious construct of black metal, ornamented with a prominent avant-garde addition, that should leave no fan of the genre impassible. As soon as we found out the release of this album, we immediately proceeded to contact the band and were able to arrange the following interview. Achilleas, band’s guitarist (something he also does on the cult classic Varathron) is the one who answered our questions.
For those of you who are not familiar with Aenaon, please take into consideration what it’s been said already: they come from Greece, cradle to one of the most exquisite and exceptional extreme scenes of this planet. Let yourselves be dragged by this grand narcotic harvest… Aenaon has come out of its carnivora’s lair to be noticed.
1-METALICOS-Hello guys, thanks so much for agreeing to do an interview for!  How are you? And most specially, how do you feel about the very recent release of your debut album Cendres et Sang?
Achilleas/ Hello Mauricio, things are going quite good for us at the moment, promotion is running smoothly and the album seems to be received by the media and fans very positively. "Cendres et Sang" is a production where very special people and good friends worked with us, musicians, artists and sound technicians and we are really proud of our work.
2-METALICOS-As I already told you, published the review for your EP Phenomenon from 2009, and as the review clearly states, your brand of black metal is top notch and masterfully crafted, but there’s been a clear and giant leap from Phenomenon to Cendres et Sang, stylistically speaking.  How did this occur?  Is the material of the album entirely new, or was rather a slow progression of ideas?
Achilleas/ Thank you for your kind words and of course your amazing support. Yes, actually a lot of things occurred since the "Phenomenon" EP. Two of our band members left the band plus a lot of things changed in our personal lives. Also at that time we had a passion to spread our hate, and to speak about this chaotic world through the eyes of Greek philosophical legacy.  Things now are more simple and personal and this affected our image too. We just started to extract our dark thoughts and feelings. We're trying to underline both in music and lyrics a psychotic surrealism and the need of self destruction in the human nature. Aenaon exists nor to make war against Christianity nor to spread political propaganda. We keep playing black metal but we do it in our own way. I believe this music is unique for unique and free thinking individuals.
3-METALICOS-I was surprised of seeing Aenaon switching from the relatively unknown Bleak Art Records to the more notorious –yet still underground– code666 label, in fact, everything surrounding the new release seems to be an upgrade: cover art, the label releasing it, the video teaser promoting it, the mastering by prominent Tom Kvålsvoll… can you talk to us about the process behind all these amazing changes?
Achilleas/ Code666 is an underground label but all these years has managed to standout by releasing not only good bands but also unique ones like Ephel Duath, Atrox, Negur? Bunget, Fen etc. We felt that our music was in their vein and they liked us too. We also started our research in all levels, new ideas in music and lyrics, and of course new colleagues. We didn't want again a digital cover, so when we saw the amazing art of Lukasz Wodinsky, we felt that this art was ideal to express our music. Regarding Tom Kvasvoll, he is a great guy; we had worked with him in the past for a split release with Satanochio band. He has worked with amazing bands like Dødheimsgard, Emperor, 1349 etc. and he seemed also to be a perfect choice.
4-METALICOS-Aenaon has been around for some time now, but I sense the possibility of an important breakthrough very soon.  What are your plans in order to support Cendres et Sang and how involved is the label in the upcoming tasks of promoting the band?
Achilleas/ We hope so too! At the moment we and our label are doing everything we can to promote this in every media and press level. Code666 is doing a great job. They really enjoy good music and respect their artists. We want to start touring too but there are some problems. Hopefully we will start live shows again after summer.
5-METALICOS-Can you tell us something about the reception of your music through time in your own scene at Greece?
Achilleas/ We come from bands -less or more- known to people (Varathron, Black Winter, Nethescerial, etc.) so this fact and some good live shows were a good start to promote our band and the "Phenomenon" EP. Now with "Cendres et Sang" we are gaining quickly more fans. Greece has a large scene of BM bands but I think we're starting to standout a little; of course we must wait for the live shows to make conclusions.
6-METALICOS-Since the album has been released not two weeks ago, I guess you’re still in the hot spot of waiting for the first responses from both media and fans.  So, can you talk to us about your own expectations for the album at this time?
Achilleas/ Actually, our label started the promotion a month ago, so it's already going pretty well. Most of the media were pretty enthusiastic, other less. Of course we have to wait more but I think we know what to expect and made some conclusions. At the moment we have an advantage and a disadvantage too. We play BM but in a more avant-garde way. So there are some BM fans who are getting annoyed by this and from the other hand we still play BM. This means that there will be an amount of media and people who won't like us, but also a small amount of open minded people who already like what we do, a lot.
7-METALICOS-Avantgarde black metal is a term that begins to fall short at the moment of accurately defining a band’s sound.  And it’s being used to describe Cendres et Sang, which at least gives a very basic idea of what to expect, but can you please describe to us with your own words what’s the sound of Aenaon in this album?
Achilleas/ Nice question. Black Metal at its best! Hahaha. Seriously now, if I had to describe it, I would say that Aenaon is a black metal band filled with emotions and experimentations that can be either jazz, electronic or anything that can express better those dark feelings.
8-METALICOS-What part of your personalities is reflected the most on this album?  Did everyone in the band contribute on the writing process?
Achilleas/ I think that through Aenaon we extract the sickest and darkest sides of our personalities. Sometimes we extract monsters, others our mental disorders, other times just pure abstract hate or melancholy. This works like a catharsis. I usually write most of the music and Astrous is writing the lyrics. All together we exchange ideas and thoughts and after a lot of work we come to what we need.
9-METALICOS-Which bands could you mention as your influence at the moment of writing material for Aenaon?  And at the same time, how much do you have to distance yourselves from your influences in order to create something that is completely your own?
Achilleas/ Well, I believe it is necessary to listen other artists' music to know in what level you do what you do, and of course because sometimes it's just the need to enjoy good music, there are amazing bands and artists out there and we really respect them. At the writing process I usually don't listen to anything else because it would be just a distraction. But it’s a fact that we really enjoy listening to other styles of music or watch a good movie, and try to convert these feelings or mood into our music.
10-METALICOS-Where do you see Aenaon in the near future?  And ultimately, what are the goals you want to achieve with the band in the long term?
Achilleas/ In the near future the only goal is to start touring after summer. A second goal is to make more good songs and ideas. The final goal is to make Aenaon a monster that a lot of people enjoy having in their lives…
11-METALICOS-Alright, thanks a lot again for this great opportunity!  Please give us your final message, cheers and good luck!!!
Achilleas/ Our Salutes! Thanks for your support and enjoy our new album. Cheeeers!!!!!
by Mauricio

Hace algunos meses estaba publicando la reseña de Phenomenon, un corto EP de la poco conocida banda Aenaon de Grecia. Los escasos 25 minutos de material habían bastado para saber que este ensamble se traía algo bueno entre manos. Ahora con su disco debut apenas salido a la calle, Aenaon aparece más notoriamente que nunca, con el respaldo de nada menos que code666 Records (casa de Ephel Duath, Fen, The Axis of Perdition y hasta hace muy poco de Negura Bunget).

La obra con que asaltan la escena black por sorpresa, se titula Cendres et Sang y es un delicioso constructo de metal negro, acicalado con un importante complemento avantgarde que no puede dejar a ningún fan del género impasible.Apenas con la noticia de la salida de este disco, nos dimos a la tarea de contactarlos y logramos concertar la entrevista que sigue a continuación. Achilleas, guitarrista de la banda (cosa que también hace en el acto de culto Varathron) fue quién atendió nuestras preguntas.

Para quienes no estén familiarizados con esta banda, pues que baste lo ya dicho: vienen de Grecia, cuna de una de las escenas extremas más exquisitas y excepcionales de este planeta. Déjense arrastrar por esta gran cosecha narcótica y deliciosamente ennegrecida, pues Aenaon ha salido de su guarida carnívora para ser notado.

1-METALICOS-Hola muchachos, muchas gracias por acceder a tener una entrevista con! ¿Cómo están? Y más importante aún, ¿cómo se sienten por la reciente salida de su disco debut Cendres et Sang?

Achilleas/ Hola Mauricio, las cosas van muy bien para nosotros en este momento, la promoción va sobre ruedas y el álbum parece ser recibido por los medios y los fans muy positivamente. “Cendres et Sang” es una producción muy especial donde gente increíble y buenos amigos trabajaron con nosotros, músicos, artistas y técnicos de sonido, estamos de verdad muy orgullosos de nuestro trabajo.

2-METALICOS-Como ya te había dicho, publicó la reseña de su EP Phenomenon del 2009, y como la reseña lo deja en claro, su tipo de black metal está muy por encima del promedio, pero ha habido un claro y gigantesco salto de Phenomenon a Cendres et Sang, estilísticamente hablando. ¿Cómo ocurrió esto? ¿Es el material de este disco totalmente nuevo, o fue más bien producto de una lenta progression de ideas?

Achilleas/ Gracias por tus amables palabras y por supuesto por el increíble apoyo. Si, de hecho muchas cosas ocurrieron desde el EP Phenomenon. Dos de los miembros de la banda se fueron y además muchas cosas cambiaron en nuestras vidas personales. En ese tiempo teníamos una pasión particular por esparcir nuestro odio, y por hablar de este mundo caótico a través de los ojos del legado filosófico griego. Ahora las cosas son más simples y personales y esto afectó nuestra imagen también. Simplemente comenzamos a extraer nuestros pensamientos oscuros y sentimientos. Tratamos de subrayar, tanto en la música como en las letras, un surrealismo psicótico y la necesidad de destrucción en la naturaleza humana. Aenaon existe no para hacerle la guerra al cristianismo o para esparcir propaganda política. Nos mantenemos tocando black metal pero lo hacemos a nuestra manera. Creo que esta música es única y para individuos únicos y de pensamiento libre.

3-METALICOS-Me sorprendí al ver que Aeanon cambió de la relativamente desconocida Bleak Art Records, a la más notoria disquera –aunque siempre underground– code666. De hecho, todo al rededor del nuevo disco parece ser una mejora: el arte de la portada, el sello que lo publica, el video que lo promociona, la masterización por el prominente Tom Kvålsvoll… ¿Pueden hablarnos sobre el proceso detrás de todos estos cambios tremendos?

Achilleas/ Code666 es un sello underground pero en todos estos años se las ha arreglado para destacar sacando no solo buenas bandas, sino algunas únicas como Ephel Duath, Atrox, Negur? Bunget, Fen etc., nosotros sentimos que nuestra música estaba en su línea y a ellos les agradamos también. También comenzamos nuestra investigación en todos los niveles, nuevas ideas en música y letras, y por supuesto nuevos colegas. No queríamos de nuevo una portada digital, así que cuando vimos el increíble arte de Lukasz Wodinsky, sentimos que era ideal para expresar nuestra música. Respecto a Tom Kvålsvoll, es un gran tipo, ya habíamos trabajado con él en el pasado para un split con la banda Satanochio. El ha trabajado con bandas importantes como Dødheimsgard, Emperor, 1349 etc. y también nos pareció la elección correcta.

4-METALICOS-Aenaon ha estado en la escena ya por algún tiempo, pero huelo la posibilidad de un importante salto pronto. ¿Cuáles son sus planes para promover Cendres et Sang y qué tan involucrada está la disquera en las tareas promocionales que se avecinan?

Achilleas/ ¡Eso esperamos también! En este momento nosotros y nuestro sello estamos haciendo todo lo que podemos para promover esto en cada nivel de medios y prensa. Code666 está haciendo un gran trabajo. Ellos disfrutan de verdad la buena música y respetan a sus artistas. Queremos comenzar a salir de tour pero todavía hay algunos problemas. Con suerte, comenzaremos a tocar en vivo después del verano.

5-METALICOS-¿Puedes hablarnos sobre la recepción de su música a través del tiempo en su propia escena en Grecia?

Achilleas/ Venimos de bandas –más o menos– conocidas para la gente (Varathron, Black Winter, Nethescerial, etc.) por lo que este hecho y algunos buenos shows en vivo fueron un gran inicio para promover nuestra banda y el EP Phenomenon. Ahora, con Cendres et Sang, estamos ganando más fans rápidamente. Grecia tiene una enorme escena de bandas black metal pero creo que estamos comenzando a sobresalir un poco, por supuesto debemos esperar a tocar en vivo para sacar conclusiones.

6-METALICOS-Puesto que el álbum fue lanzado hace tan poco tiempo, supongo que todavía están en el punto expectante esperando las primeras reacciones de los críticos y los fans. Entonces, ¿puedes hablarnos de tus propias expectativas para este disco?

Achilleas/ De hecho, la disquera comenzó la promoción hace un mes, así que está yendo bastante bien. La mayoría de los medios reaccionaron de forma muy entusiasta, otros un poco menos. Por supuesto debemos esperar más pero pienso que sabemos qué esperar y ya sacamos algunas conclusiones. En este momento tenemos una ventaja y una desventaja también. Tocamos black metal, pero en una onda más avant-garde, así que hay algunos fans a quienes esto les molesta, pero por otro lado seguimos siendo black metal. Esto significa que hay alguna cantidad de medios y gente a quienes no les gustamos, pero también un pequeño grupo de gente con mente abierta a quienes ya les gusta lo que hacemos, y mucho.

7-METALICOS-Black metal avantgarde es un término que comienza a quedarse corto al momento de definir el sonido de una banda. Y está siendo utilizado para describir a Cendres et Sang, lo cual al menos nos da una idea básica de qué esperar pero, ¿puedes describirnos con tus propias palabras cuál es el sonido de Aenaon en este disco?

Achilleas/ Buena pregunta. ¡El mejor black metal! Hahaha, bueno ya en serio, si tuviera que describirlo, diría que Aenaon es una banda de black metal llena de emociones y experimentaciones, que pueden ser ya sea jazz, electrónica o cualquier cosa que exprese correctamente esos sentimientos oscuros.

8-METALICOS-¿Qué parte de sus personalidades se refleja más en este álbum? ¿Todos en la banda contribuyeron en el proceso de composición?

Achilleas/ Creo que a través de Aenaon extraemos los lados más enfermos y oscuros de nuestras personalidades. Algunas veces sacamos monstrous, otras nuestros desórdenes mentales, a veces simplemente odio abstracto o melancolía. Esto funciona como una catarsis. Usualmente yo escribo la mayor parte de la música y Astrous compone las letras. Todos juntos intercambiamos ideas y pensamientos y luego de mucho trabajo, llegamos a lo que necesitamos.

9-METALICOS-¿Qué bandas podrías mencionar como influencias en el momento de componer material para Aenaon? Y al mismo tiempo, ¿qué tanto deben distanciarse ustedes mismos de sus influencias con el fin de crear algo que sea completamente suyo?

Achilleas/ Bien, creo que es necesario escuchar la música de otros artistas para saber en qué nivel haces lo que haces, y por supuesto algunas veces es solo por la necesidad de disfrutar buena música, hay bandas y artistas increíbles allá afuera y realmente los respetamos. En el proceso de composición usualmente no escucho nada porque sería solo una distracción. Pero es un hecho que de verdad disfrutamos escuchar otros estilos de música o ver una buena película y tratar de convertir esas sensaciones o ánimo en nuestra música.

10-METALICOS-¿Dónde ves a Aenaon en el futuro cercano? Y en última instancia, ¿qué objetivos quieren alcanzar con la banda a largo plazo?

Achilleas/ En el futuro cercano el único objetivo es comenzar a salir de tour después del verano. Un Segundo objetivo es componer más buenas canciones e ideas. El logro final es hacer de Aenaon un monstruo que mucha gente disfrute teniendo en sus vidas…

11-METALICOS-Listo Achilleas, ¡muchas gracias por esta oportunidad! Por favor danos tus últimas palabaras, ¡saludos y buena suerte!

Achilleas/ ¡Saludos! Gracias por el apoyo y disfruten nuestro nuevo álbum.

by Mauricio


Don't Count On It Reviews - 20/07/2011

If anyone is into the underground progressive/experimental black metal scene of the last couple of years, you probably already know Aenaon. This Greek band released one of the most exciting black metal albums this year and I was lucky enough to interview the band. 

Ian: Greetings, how are you doing right now? Thanks for putting out such a great album, it's a record that really should get a lot of people's heads turning toward you guys.
Astrous: Hello Ian, at the moment, while Greece is totally fucked up, I'm relaxing and trying to enjoy the heat of the summer. The promotion for us is running smoothly, so everything is ok hehe! Thanks for your kind words, it means a lot for us to see people appreciate our work.
Ian: What kind of feedback have you gotten from people about the new album?
Astrous: Till now the feedback is pretty cool. We get messages from people around the world that really enjoyed our work and they are kind enough to share these feelings, this is something new and flattering for us. From the other hand, except the acceptance and impassioned reviews, we read reviews that makes us wonder if they listened the album! However, it's a fact that any review is subjective and depends from the tastes of the reviewer. 
Ian: At the band's core, I think you could say you're a black metal band, correct? What was it about black metal that made you want to use it as the medium of your many musical ideas instead being a death metal or doom metal group? 
Astrous: As listeners, we are fans of black metal from our first steps in metal music. Before Aenaon we were playing on other black metal bands, so I think it was natural to continue playing this kind of music, but as persons, we are evolving and live new experiences and this of course has an impact on how we realize music. I must admit, that we don't listen only black metal... we find interesting most of metal genres but our thirst for music is making us to search a lot of different musical styles... 
Ian: I know bands don't like to categorize their music but would you say that terms like "progressive" and "avant-garde"are appropriate for Aenaon?
Astrous: Probably yes, but this is also quite subjective. A guy that listens Naked City, probably will describe Aenaon as a black metal band... but what about a guy that listens Ildjarn or Profanatica? So I think that these terms are ok to categorize our music, but we must not stay in these terms... Anyone can take a taste of our sound and make his own conclusions. 
Ian: Despite the very progressive/avant-garde sounds that come through in your songs, they all retain a melody and a hook of some sort, is it important to make songs that aren't so weird that they're not memorable? How is a Aenaon song usually written?
Astrous: No, we don't have limits during the creation of a song. We keep anything that sounds interesting but it's also meaningful, in a catchy or emotional way. Composing only weird or melodic music would be so boring. Responsible for the songs is Achilleas C., he presents us songs or riffs and together we decide which ones we must keep or not. But the final result is always different, as new ideas come by with the accession of vocals and the instruments of the other members.
Ian: About how long did it take the band to write the songs that would eventually be used on the "Phenomenon" EP?
Astrous: I have to admit that I don't remember exactly considering that many of the ideas were existing since 2006. To complete the songs and the recordings I bet that it didn't take more than three months. The recordings of "Phenomenon" was enough in bulk state comparing with "Cendres et Sang" sessions.
Ian: Looking back at that EP, what kind of memories come back to you?
Astrous: At that time, all of us were enjoying our comforts, a lot of fun, beers and sleepless nights full of metal and abuse, really good times! I still remember the rehearsals at a miserable studio without ventilation, heat and sweat was the only that we could breathe.
Ian: From what I can tell, a track like Navel from that album is a very important one to your fans, what do you think it is about that song that makes it stand out from the other's on the EP?
Astrous: It’s not so complex or abstruse as the rest songs and probably has better riffs! Simple… hehe Actually it's a funny story. One week before the recordings we had another track called Spheres of Orion, we were playing it on rehearsals but it didn't sound right. So, I went home with our ex-member Draugen and I told him to catch the guitar and play 2 simple riffs I had in mind. The next day we rehearsed it. Our drummer Vanghmar and Thyragon put some new prog-rhythmic ideas, Achilleas put some leads, and I had some weird ideas with the vocals. So that was the death of Spheres of Orion and the birth of Navel! 
Ian: How did the split with Satanochio come about? What was the concept of "A Parallel Zoetrope" if there was one?
Astrous: After "Phenomenon" we had some changes in the line-up, so we thought that releasing just a song would be a perfect test for the album. Also we decided to change our sound a little bit following the Navel patterns with more weird way of view. We knew Satanochio and we admire their works... We ask them about a possible split and they accepted it. "A Parallel Zoetrope" doesn’t have any concept, but Costin Chioreanu, the designer of the cover had this excellent idea to unite the lyrical themes of these two songs.
Ian: What kind of ideas and concepts did you want to put into and refine on "Cendres Et Sang" that you didn't make use of on previous recordings?
Astrous: Well, during the compositions we don't have any hesitations or plans. We let it flow in a natural way. However the basic idea for "Cendres et Sang" was to make it more "organic" and multifaceted. 
Ian: I know you take influence from many different genres and groups, but I notice that there seems to be a great love for King Crimson and DHG among you all. I can hear elements from both bands coming through in your sound, but I would say that the full-length really begins transforming them into a much more original sound, would you agree with that?
Astrous: Yes, DHG and King Crimson is a small sample of bands that we like and listen, but someone that is not into these bands will find some others to compare us. Imagine that one guy in his review wrote that we have Paradise Lost as one an influence, among others… pretty funny for me, hehe! Yes I agree with you and I’m happy for that. Originality is not just a detail and some bands must realize this factor. 
Ian: There's quite a large jazz influence coming through your songs, to what extent has jazz/fusion influenced your sound?
Astrous: To be honest, all these jazzy parts just occurred, we didn't have in mind that we're combining jazz with BM. Actually, we were combining influences from other music genres too, but it seems that those experimentation with the jazz elements stood out. We think it's a good idea to extend those influences in our future works.
Ian: Personally, I thought that Black Nerve was an obvious standout track simply because of how varied it was. For me, it really felt like the entire band was stretching their creative muscles, would you agree with that?
Astrous: At some way of view, yes. Black Nerve has a lot of elements and maybe was the basic reason that we keep it for the end of the album. It's quite "stressful" song with a really powerful and emotional beginning. It's one of my favorites! 
Ian: What exactly is the cover art of the album and is there any sort of concept that went into its design? Who designed the cover by the way?
Astrous: The cover, as the whole artwork, is illustrations/paintings of a great Polish friend and artist, Lukasz Wodynski. He is a modern painter with elegant aesthetic. The cover shows a figure of a human body that is in a dysfunctional position between life and death. It symbolizes our organic origin, but also the human endeavor for spiritual deification.
Ian: The sound on "Cendres Et Sang" is much less synthetic and industrial sounding than "Phenomenon," was it a conscious effort to move away from a more industrial/symphonic sound and into more organic and natural sound?
Astrous: Yes, definitely. We wanted to make something more organic. And this is one of the reasons that we chose the specific title for the album. The translation of "Cendres et Sang" is "Ashes and Blood", what more organic and meaningful of these two words?
Ian: What went into deciding what guests would appear on the album and why did you choose them?
Astrous: Having guest musicians gave us the chance to make the album more "complete". They offered their own approach, it was very important. Some of these guests were V'gandr of Hellheim on Grand Narcotic Harvest song and Thomais of Dakrya on In Heaven cover, we knew V'gandr and Thomais due to their bands and we really respected them and wanted them to be a part of our work. Other guests like the saxophonist, Christos Aggouridakis and pianist Vasilis Agiomyrgianakis (he was a keyboard player for Nightfall in the past) are friends and good musicians.
Ian: What went into deciding to cover In Heaven on the album, it's really a good cover but manages to retain the same sort of morbid nature of the original.
Astrous: Eraserhead is one of my favorite movies and this scene is amazingly melancholic and spooky at the same time. I thought that it would be interesting if there was any way to cover it. Thomais and the piano work make it even better. 
Ian: Who would you site as some of your non-musical influences (writers, tv shows, art, etc.)? 
Astrous: On a lyrical level I’m really inspired by people like Kazantzakis, Νietzsche, Kafka, Darwinand Marquis de Sade. Aesthetically we really enjoy German expressionists and later European surrealists, not really fans of digital arts. We don't really watch a lot of TV but we're all fans of good cinema and sometimes cult and horror movies (not always good but still joyful hehe).
Ian: What's next for Aenaon? Can we expect any live shows?
Astrous: I hope so! We have some problems at the moment, as you can understand a lot of weird stuff is going on at the moment at Greece, but we hope we'll start live shows as soon as possible. You should also expect more recordings, maybe one more 7'' if we find an interesting band to cooperate with, and I guess we have already new ideas for the next album.
Ian: I guess that’s about it, thanks for letting me interview you, it's been a pleasure. The last words are yours.
Astrous: Thank you Ian, it was a pleasure for as too. Hope to see you in a live show in the future and keep on the good work!
I think it's a given that you should listen to these guys, awesome band! Definitely get "Cendres et Sang" if you like any sort of experimental black metal, you will not be disappointed! 
Interview by Ian Flick


Heavy Metal Cosmos (Gr) - 14/07/2011

AENAON is unleashed upon mankind bringing their avant-garde black metal one step closer to your door...before you decide to let them in, take a look at what Astrous, main lyricist of AENAON, has to say about it...

The first full length album was released a few days ago. How was the first reaction on behalf of the Media?
Astous: Hallo! Until now the feedback was very pleasing, there have been many reviews on the album and people seem to appreciate our work.You know it's a fine feeling receiving messages from different countries saying how much they enjoyed the album.I would say that it's a new feeling for us and makes us feel quite good!
"Cendres et Sang" is the title. If i'm not mistaken it means" ashes and blood"what is the true meaning of this title for AENAON? Which thoughts and ideas were you able to bring out through this release?
Astous: Lyrically the basic core is human-centered and so is the title that symbolises our organic origins...death and life, ashes and blood.Basically, we reach topics about phycological disturbances, addictions and abusion of our species , religious or not and in general a mix of philosphical views with a surreal approach.
How about the roles that each of you hold concerning compositions and lyrics? Are you(Astrous) still on the lyrical part and Achilleas into writting the music?
Astous: Yes, lyrics are still my job, while Achilleas has all the burden of musical compotition ons his shoulders. Of course the final outcome is an all together effort a fact that makes our music more"total". I think that in general we have found the right balance that makes bands enjoy mostly what they;re doing and then worry about all the other details.
Recently AEANON have signed with a big at least in its kind record label, CODE666.what are the main differences regarding the way you were delt with as a band before the signing?
Astous: There are many differences...CODE666 really repects our music and effort and the communication is very straight.. They understand our needs, by giving advices and not by pushing for something that we as a band don't want. Now, as far as promotion and distribution is concerned, again the differences with our old label are huge.In addition, the press deals with us with much greater respect.However, i want to believe that this is a result that comes from our musical material also.
The recordings took place in many different studios. Tell me a little bit more about that. What purpose did that serve?
Astous: The members of AENAON don;t live in the same cities. As you can see this alone results in many difficulties.The best solution was each and every member to record in a studio of his aerea, having the time and being as comfortable as needed. That was a nice move and we finally gained the best elements from each studio.Recording in a studio that is 15 minutes away from your house makes the whole proccess easier without extra pressure and anxiety.
The guests were many and carefully chosen. Do you wish to share with us some favourite moments while in studio with each and every one of these musicians?
Astous: Being all together during recordings was economically difficult. Besides, asking by specific people to perform as guests in your release means that you trust them with their talent.Also, the recordings for our guest musicians had exactly the same pattern with the rest of AENAON recordings.For example,  saxophone was recorded in Corfu Island, Thomais from Dakrya recorded her parts in Athens, while V'gand of Helheim in Bergen. The mastering took place in Oslo and so on..."Cendres et Sang" is a musical puzzle that slowly took shape and form . That was a very unique experience as we ourselves didn' t quite know the final result 100%.We observed the proccess while each guest put an extra stone, giving a different approach.
What is AENAON opinion about the Greek black metal scene?
Astous: There are many great black metal bands that as the time passes by they manage to make careful moves and take themselves quite serious. But you asked about the "greek scene" this point i will have to give a rather dissapointing answer. In order for a "scene" to exist there must be some support, respect and many other things. Beside a few exceptions, in my ten years involved with the "scene", i don' t quite see that anywhere.There is a lot of bad competion and  jelousy.
The interesting about your music is that one can detect many different musical styles and influences. Was there a musical influence and if so which was the main one for you?
Astous: I could say that we are quite open-minded to add new elements in our music all the time and rather close-minded to send a song to Eurovision Contest!Xaxa!Can't blame music for its multiple expressions. We listen to lot and different music styles, as long as these styles have something to tell us, to fulfill our standards.The basis in the sound of AENAON is of course black metal and beginning from that we like to add some jazz, blues, post and electro elements.I won't reffer to bands in particular since each one finds their own things in our sound, things that basicaly are connected in the end.
"Cendres et sang " is a big release for AENAON.Some powerful promotion will be needed.What exactly is your tour program?
Astous: For the time being there are some difficulties that cannot allow us to start touring.Though to tell you the truth in GREECE things are not so good. Less and less people attend concerts, resulting to audiences of 30 people tops sometimes! Things abroad seem much better but you have to put lots of money and personal time in order to support bigger bands, a fact that sounds more like a luxury in our everyday reality.
Your wishes and dreams for the hard days to follow- musically and economically speaking...
Astous: I hope that we be much stronger and better through all these difficulties.We should kick back our complex and face life and music with another approach, by looking the substance of things  and not the surface...
Interview done by Georgia B.


Greek Rebels (Gr) - 30/06/2011

Μια νέα δύναμη ανατέλλει στο χώρο του black metal. Οι Aenaon είναι μια από τις εγχώριες μπάντες που πραγματικά ξεχωρίζουν με το νέο τους αριστούργημα ονόματι “Cedres et Sang”. Ο κιθαρίστας της μπάντας Achilleas C. μας μίλησε γι’ αυτό.

Αρχικά σας συγχαίρω για το πρώτο ολοκληρωμένο άλμπουμ σας και πιο συγκεκριμένα για τις συνθέσεις που υπάρχουν σε αυτή την κυκλοφορία διότι κάνουν ακόμα πιο δυνατή την ελληνική σκηνή. Cendres et Sang λοιπόν ο τίτλος αυτού του δημιουργήματος. Τι σημαίνει ? Υπάρχει κάποιο σκεπτικό πίσω από αυτή την ονομασία ?

"Cendres et Sang" σημαίνει "Στάχτες και Αίμα" στα Γαλλικά. Θέλαμε ένα τίτλο που να εκφράζει με τον τρόπο του τον άνθρωπο ως κάτι οργανικό και ταυτόχρονα πνευματικό. Εξάλλου τα κομμάτια έχουν μια κοινή οπτική γωνία. Αναφέρονται σε αυτό το θνητό υποκείμενο που λέγεται άνθρωπος... Και ένας πιο απλός λόγος, γιατί ο τίτλος αυτός στα Γαλλικά ακούγεται cool! Όπως και να το κάνουμε οι λέξεις και οι ήχοι των λέξεων έχουν την δική τους ομορφιά.

Πόσο καιρό σας πήρε για να ολοκληρωθεί συνθετικά και να ηχογραφηθεί αυτός ο δίσκος. Αντιμετωπίσατε κάποιες δυσκολίες με οτιδήποτε?

Ένα με ενάμισι χρόνο περίπου. Να φανταστείς, μέχρι και την τελευταία μέρα της μίξης είχαμε καινούργιες ιδέες και έπρεπε πολλές φορές να συγκρατηθούμε. Ξέρεις, ο κάθε καλλιτέχνης μπορεί να έχει δύο προβλήματα. Έλλειψη ιδεών παράγωντας κάτι βαρετό ή να έχει πάρα πολλές ιδέες και στο τέλος να κάνει ένα ωραίο μπουρδέλο. Η σύνθεση και η παραγωγή του δίσκου δεν έγιναν σε καμία περίπτωση χωρίς να αλληλοεπηρεάζονται και επιπλέον η απόσταση μεταξύ μας ακόμα και με τους guest μουσικούς έδιναν μια όμορφη ελευθερία για τον καθένα μας. Υπήρξαν διαφωνίες αλλά τελικά κάποιες φορές η εμπιστοσύνη είναι η καλύτερη λύση. Το μεγαλύτερο πρόβλημα ήταν και είναι τα οικονομικά μας. Πρωτότυπο?

Πώς ταυτίζεται το εξώφυλλο του δίσκου με τους Aenaon?

Ο Lukasz Wodynski είναι ένας σύγχρονος ζωγράφος που η αισθητική και η τεχνική του μας αγγίζουν πραγματικά. Επιπλέον δεν είναι μόνο χρώματα και πινελιές, έχει καλλιτεχνική ουσία και νιώσαμε ότι η δική του έκφραση έχει την χημεία για να δέσει με την δική μας μουσική. Το ανθρώπινο σώμα απεικονίζεται σε μία σχεδόν δυσλειτουργική στάση, μεταξύ θανάτου και ζωής. Συμβολίζει την οργανική υπόσταση μας, αλλά και ταυτόχρονα την προσπάθεια του ανθρώπου για τη πνευματική του θέωση.

Νέα εταιρεία για τους Aenaon. Η Code666 σας πλησίασε από μόνη της η ψάξατε από μόνοι σας?

Όχι, δυστυχώς η όλη διαδικασία ήταν αρκετά ψυχοφθόρα. Άπειρες λίστες &alpha