Aeonless are a new project by Georgi Georgiev, one of the most productive guys within the Bulgarian netherworlds. You will surely recognize bands / projects like Calth, Raggradahr, Perverse Monastyr or Forgotten Forests if you do follow the Bulgaria-based underground scene. For this specific project, Georgi joined forces with a same-minded guy from Finland, Jori Hautala, who ‘sings’ in Aeonless (+ some synths). Georgi, performing all strings, took care of the production, mix and mastering as well at his home studio 7-th Floor.
This first album saw the light via Ukrainian Vacula Productions, a label that came up with several extremely great releases last year, in collaboration with Germany’s new revelation Wolfmond Production, that is trying to conquer the world as from this year on. It lasts for five quarters of an hour.
The album opens with Dawn Of Decay, a symphonic introduction that goes further than most intros, if it were only for the duration. But in each case, these great orchestral synth-lines with inclusion of ritual drum patterns are a nice starter to make the listener hungry, craving for more. And as from Sword And Scythe, you will get what you (do not) deserve. The core of Aeonless’ Black Metal lies within the epic / mystic / atmospheric / melancholic spheres, though rather of the victorious kind than the depressive one. The tempo is pretty slow (from doomy to mid-tempo), which strengthens the melodic structures in order to consolidate the grimness. Besides, the fabulous and somewhat mesmerizing clean singing is another surplus to this fact, i.e. the fortifying of a pronounced obscurity. There is so much to experience: great guitar leads, monumental rhythm structures, well-balanced twin guitar leads, monumental Doom-epic, magisterial Pagan pride, prominent explorations of darkness and so on…
Maybe the sound isn’t that optimum, but I do not care. The multiple synth lines and multi-dimensional layers of instrumentation (the variety on vocal timbres included), as well as the occasional yet important semi-droning passages, are of non-deniable importance to define this band’s, well, why not, let’s call it ‘unique’ approach. It’s like Hellveto or Raventale being reinterpreted by occult and misanthropic spirits. This fact gets strengthened by the several intermezzos (‘preludes’), nicely giving some counterbalance to the paganized obscurity behind almost each level.