The band Skyless Aeons states, «The earth rejects us as we drain its lifeblood». Hailing from London, Canada, Skyless Aeons bring forth a unique blend of extreme metal styles with their first full-length album Drain The Sun due out October 2nd, 2020.
Meticulous and methodical, the writing process for Drain The Sun was roughly two years long, the songs being shaped and directed according to the concept the band created. The band shares the inspiration being the album: «Our inspiration comes from the faults in the human condition we encounter in our everyday lives: greed, over-consumption, over-population, the failure to recognize our dogmatic beliefs are wrong leading to division. The music serves as a warning call to what will happen if we fail to recognize the error of our ways, some of which we already see happening in civil unrest».
Compared to the initial release, the new offering maintains the chunky melodic death metal riffing and occasional black metal flourishes of the previous, but also has much more detailed and structured songwriting, much tighter musicianship and higher-quality production values.
The anti-natalist single, Go Forth And Multiply is a short, sweet punch to the gut that came together in a fit of inspiration. It speaks of humanity’s relentless desire to multiply and overpopulate, creating a world full of defective minds that never wanted to be born, with nothing better to do than populate the earth further. The song shows up, hits hard, and leaves, and it’s the best sneak preview for some of the musical and lyrical themes that are explored in greater depth on the album.
Dark, focused, and tense Skyless Aeons is probably recommended for fans of Opeth, Dark Tranquillity, Death, and Swallow The Sun. Around 2014, guitarist Nicholas Luck and drummer Martin Burchill met as a result of an errant bus ride in London, Canada. At this time, Burchill was looking for a stable project after drumming in various rock/punk/metal bands over the last decade or so, and Luck, only 18 at the time, was looking to start a death metal band.
Vocalist Nathan Ferreira and bassist Steve Oliva followed shortly after and with a scathing collective disdain for the larger structures of society and a commitment to constant evolution in sound and ethos the band recorded and released the Era Of Famine EP in 2016.
The band has already gained a reputation through local shows as one of the more unique and energetic death metal bands in the scene, opening up for artists such as Ashbringer, The Convalescence, Nesseria, and Killitorous – a wide variety of styles, yet somehow, Skyless Aeons shares musical similarities with all of them.
At a live show, one can expect certain synchronicity and chemistry that can only come from years of experience and practice feeding off of each other’s ideas. Couple that with vocalist Ferreira’s on-stage recklessness mixed with unusually sardonic and self-deprecating stage banter, and it’s no surprise that Skyless Aeons are gaining notoriety and drawing more and more people to their local performances as of late.
2020 brings a new album Drain The Sun; it takes a different approach, using much heavier and expansive riffing textures and shows refining and maturation of the band’s identity. It can best be described as ; progressive death metal with some dissonant, doom-influenced leanings.
«This debut EP by Skyless Aeons is monstrous. 35-minutes and four sweeping songs worth of intense songs blackened-death: riffs aplenty, interesting transitions, and solos smothered by a lead-heavy old-school sounding production. The vocals are inhuman and loud in the mix fluctuating from mid-to-high range shrieks similar to Anaal Nathrakh to mid-range growls. There are moments of real technical efficiency – think Gorguts and Mithras – along with an atmospheric undertone akin to Ulcerate and Flourishing. I highly recommend» states Akerblogger
«There’s a rich diversity to Skyless Aeons’ music, even though their material is cohesive and doesn’t feel the need to go into extra clean, girlfriend metal territories to get the point across. The four tracks (all between seven to eleven minutes) are progressive affairs without too much fluff. The guitars of Nicholas Luck alternate between early 90s tremolos, a modern dissonant approach to black metal and a healthy dose of melancholic Nordic melodic death metal and he plays everything well» states Metantoine’s Magickal Realm