ALBUM REVIEW: Astralborne – Across The Aeons


 

Being based in the US, you’d probably expect a relatively new band like Astralborne, formed in 2018, to adopt more popular current musical traits in order to attract attention. However, instead of going for standard metalcore vocal trappings or deathcore breakdowns in drop Z, the enterprising Ohioans keep clean singing and Djent at the door, owing far more to the likes of European melodeath acts such as Arch Enemy, (early) In Flames and Amon Amarth.

 

The band’s second full-length release, Across the Aeons (Prosthetic Records), uses 2019’s independently released debut Eternity’s End as a jumping-off point and sees a clear improvement in virtually every area. Brutally melodic with thematic tendencies aimed towards the celestial and cosmic, a clear and punchy production helps frontman Paul Fuzinski sound even more esophagus-tearing, and monstrous than before.

 

Opening with the European-influenced acoustic intro ‘Exordium’, the album quickly launches into the explosive blast of ‘War Vessel’, Fuzinski’s fearsome roar dominating the cut while guitarist Derik Smith provides robust riffs and mighty hooks. ‘Nocturneous’ allows Fuzinski’s bass to breathe alongside Jayson Cessna‘s jackhammer drumming before the savage three-minute punishment of ‘Skybreaker’.

 

A writhing hydra of surging riffs and fingertip-melting solos, ‘Gemini’ is followed by the scorching duo of ‘December Flower’ and ‘Promethean Fire’, the former including a guest spot from Foretoken guitarist Steve Redmond, the latter featuring Fires in the Distance six-stringer Yegor Savonin. ‘Star of Extinction’ is another thoughtfully structured blast of melodeath, as is ‘Paradigm Shift’ which concludes with some nice work from talented cellist/composer Kakophonix (Chris Edward Brown) who appears several times throughout the record.

 

One of the album’s standout cuts and yet another showcase for Smith, ‘The Pillars of Creation’ leads into the labyrinthine title track, a nine-minute epic boasting all manner of shifts in mood, atmosphere, and timings. Cello and acoustic strumming become intertwined with staccato riffing, black metal tremolo picking, machine gun drumming, and guitar solos before closing with the acoustic Viking-infused outro, ‘Cadence of Sorrow’.

 

 

An avalanche of barnstorming riffs and supersonic shredding, Across the Aeons delivers to its maximum potential while even finding the time for subtle moments of folky introspection. Innovative and confident, it’s already clear that Astralborne is possessed of an eagerness to create and move forward. So, while certain elements have yet to find their way into their particular brand of melodeath, it shouldn’t come as a complete surprise if, or when, they do.

 

Buy the album here:

https://lnk.to/astralborne

 

8 / 10

GARY ALCOCK