Aephanemer - Prokopton

In the last two or three reviews, it was discussing the role labels play in describing a band and how they may fit to explain the band and its music. I said that a label can give the band a certain poetic freedom to explore beyond. Also, I wrote about a comment I read that labels do help in explaining the music the band does. So, here we have a great example of doing so. Aephanemer are a Melodic Death Metal band as Hell’s Guardian, the band I reviewed before, but “Prokopton” is very, but very different from “As Above So Below.”

How so? I guess you are questioning. In “Prokopton,” Aephanemer deal with lots of elements of classical music which do not happen to “As Above So Below.” There are lots of complex orchestrations and violins and things which give “Prokopton” a real epic grip. Well, Hell’s Guardian were epic too, you may say. Yeah, right. But the way Aephanemer build their music up is completely different. Orchestrations are the guideline to “Prokopton.” It’s noticeable that songs were written to fit orchestrations and not the opposite. That’s what gives all track the grand grip they all have. Some more than the others, but all tracks are connected to classical music elements. If I may, go right to fourth track “Snowblind” where there is a special guest female voice that gives a different vibe to it. On the other hand, following track “At Eternity’s Gate” is a great example of what I said before about the classical music influences.

“Prokopton” is an album where one can reach all the contradictions and contrasts I keep talking about. Distorted guitars and harsh vocals are great with orchestras and things. The effect is tremendous. A natural fit, if I may say. Even better if the band really knows how to make it happen as Aephanemer do. “Prokopton” is an album that pleases you each track. A perfect match of aggression and beauty.

Aephanemer “Prokopton” will be released on March 22nd via Primeval Records.

Track Listing: