AEON GODS were formed in 2022, and they are from Lübeck, Germany. The symphonic Power Metal band release their debut full-length album. It was mixed and mastered by Sebastian Levermann (ERADICATOR; ORDEN OGAN; RHAPSODY IN FIRE). The album has a length of about 45 minutes, and it was released via Italian Power, Heavy, and Thrash Metal specialists Scarlet Records. The album starts powerful and fast with the traditional Power Metal track “Sun-God”. The guitar riffing is a mixture of being tight and thunderous and it is supported by plenty of double-bass drumming. The verse parts are fast, while the bridge is played at a measured tempo and the chorus at mid-tempo. The vocals are clean and vary around the medium end of the vocal range. During the chorus parts, the vocals are intensified by background vocals. The melodies are catchy and almost sing-alongs during the chorus parts. There are symphonic arrangements notable but not overly prominent.

“Sun-God” is the official video release, and the YouTube link is provided below. The Power Metal attack continues with the fast “King Of Gods”. It is a track with tight riffing and a lot of pace. The melodies are catchy again, especially during the anthemic chorus line. Highlight of the track is the extended and very contributing lead guitar solo. “King Of Gods” is one of my favorite album songs. The self-named track “Aeon Gods” provides a bit of a change in sound. It is a track at a measured tempo with thunderous guitar riffs and an epic melodic framework. The melodies are dark, slightly melancholic, and they are intensified by the orchestral arrangements led by the brass. The chorus parts are again sing-alongs. “Babylon Burning” starts with mid-tempo verse parts, tight guitar riffs, and prominent orchestral support. The melodies are catchy, in particular during the chorus parts. The first tempo switch comes with the break, where the track slows down. Introduced by the vocals, the break transitions into a short lead guitar solo at mid-tempo.

The middle part of the album is devoted to the saga of the Great Flood, told in three parts. “Enlil’s Commands (The Flood Part I)” is mainly a mid-tempo track with powerful riffing. There are a few tempi shifts in both directions, where the slower parts introduce more darkness in the melodies. The chorus parts are anthemic and supported by the double-bass drumming. “Nintu’s Lament (The Flood Part II)” is the power ballad of the album. The vocals are mainly supported by the orchestra and predominantly by the piano. Halfway through, the guitars join in. The three-part saga about the flood uses the orchestrations extensively. “Enki’s Grace (The Flood Part III)” is a powerful and heavy track with devastating riffs and very prominent string and brass orchestrations. The melodic framework is grim and orientally inspired at times. The track starts at mid-tempo but gets faster during the final part.

“The Descent” starts with epic orchestral arrangements leading into another fast Power Metal track. The verse parts are incredibly fast with tight guitar riffing, while the chorus parts are mid-tempo with dark and epic melodies and anthemic chorus lines. During the chorus parts, the orchestrations are more prominent led by the brass. The break delivers a contributing lead guitar solo. “The Descent” is one of the album highlights. “Monsters Of Tiamat” is a bit of a contrast in sound compared to the preceding track. Started by the lead guitars, it develops into a mid-tempo track. The track is all a bit too simple, both in terms of sound and lyrics, and for me the track cannot quite keep up with the rest of the album. The album finishes with the dark “Tablet Of Destinies”. It starts with grim melodies and with prominent brass contribution. The track is the return to the traditional Power Metal sound with fast verse parts, supported by the double-bass, and chorus parts in a measured tempo with anthemic chorus lines. The break is a bit abrupt introducing a short lead guitar solo. “Tablet Of Destinies” is a bit of a showcase of the album sound and a very good way to finish the album.

The debut album of AEON GODS is a promising one. It is a traditional Power Metal album with prominent orchestral elements. Focal point of the album are the guitars, in particular the riffing as AEON GODS do not use the overly long lead guitar solos, which other Power Metal bands have in abundance. The lead guitars are effective and contributing, even though the solos are a bit short at times. The album is well produced. “King Of Gods” could be the start of a promising Power Metal career of AEON GODS as they are a band with potential.