ALBUM REVIEW: Eternity’s End – Astralborne

On ASTRALBORNE’s social media, there’s a wonderful meme that alludes that the producer of their debut record, Eternity’s End, asking the band how many guitar harmonies they’re planning on using. The answer? A simple ‘Yes’. And the record is all the better for it. In fact, this record is superb, quite frankly. The Ohio three piece, formed out of members of HAMMER’S HORDE and BLOOD OF THE PROPHETS, have crafted a melodeath record that soars to the highest heights of melody and delves to the deepest depths of brutality. Though the record was self-released last year, the band drew the attention of Prosthetic Records, who have signed the band and have re-released the album. Not only is it worth revisiting, it’s absolutely worth praising to the highest degree.

First, a little housekeeping. This record has some mixing flaws that prevent the album from being an utter masterpiece. For a deal of the album, the vocals, brutally performed by Paul Fuzinski, are mixed too quiet to really deliver as big of a punch as they deserve. And there are multiple points where instrument levels are inconsistent and their prominence shifts within the mix. However, it must be stressed that the record, in spite of these issues, is one of the best to be released this year so far based solely on the absolute masterful song construction, impeccable playing, and sheer power in every track.

Opening track Eulogy in Black is a very haunting and beautiful intro that puts the spotlight on one of ASTRALBORNE’s greatest strengths on the record: the use of dynamics. Weaving beautiful acoustic guitar melodies on this opening track is a theme that appears again and again throughout the runtime of the record, to great effect. As soon as the track leads in to the next, Attending the Funeral, the bass hits like a ton of bricks and it is on. This is a driving, powerful track and every instrument hits like a sledgehammer. Fuzinski’s vocals are deep and guttural and the drums pound like gunshots, especially about halfway through when the pace slows and the snare cracks like a whip, thanks to Jayson Cessna on the kit. This is traditional melodeath at its best, and dear God the guitars. The guitar licks, melodies and harmonies on this album on every track are some of the most stellar in a long while. Solos on this track are fiery, and there’s no let up.

Transcendence of Flesh is a thrashy rager with an excellent lead guitar melody right away, and the rollicking tempo has that AMON AMARTH epic, galloping vibe. It’s got great tempo changes, and once again the guitar is just out of the world. Absolute props deserve to be given to Derik Smith for his work throughout. This is such a fun listen, and the acoustic guitar at the end, once again, absolutely works to the band’s strategy of keeping the listener on their toes. It’s perfectly pleasing and feels like it needs to be there. Not a hair out of place. Paragon Amiss is a short track that charges right out the gate with some particularly brutal vocals that pair up particularly well with the instrumentation. The tremolo picked guitar breaks add great texture and there’s another sick solo. The guitar tone alone is goosebump inducing.

By now, the guitar harmonies fill up a majority of every song on the record, but the inundation absolutely continues to work magic thanks to riffs and licks that are continuously pleasing and creative. Centuries (In Agony) is an album highlight. There’s some really cool drum beat mix ups that keep the head banging in unexpected ways. And oh boy the bass that kicks into the main thrust of the song. The song is pounding, and every instrument sounds fantastic. There is a raging thrash kick in two thirds of the way through, and it just hits that this whole band is just so tight. There’s a pit inducing breakdown as well that throws right back into another blistering passage, and with more guitar harmonies at every turn, this record is showing no signs of letting up.

The guitar tone at the start of Architect of Suffering says that this track is not to be fucked with. Launching right into even more stunning guitar work with thrash riffs, and we have another banger. It’s abundantly clear that all of these sounds would sound amazing in a live setting as well. Every instrument is thunderous here, and dear lord the guitar tone again on the solo three minutes in! The way the band can shift the mood light and soft and then crash in again like a fist to the face just continuously keeps the record fresh. Mournful violin passages leap back into absolute mayhem before finishing a la SLAYER style with the sound of rain and a soft, lilting piano. Multiple moods and textures? Yes please, and in spades.

Inglorious 20XX is riff city. LAMB OF GOD would be so proud of the riffs on this instrumental track, which features the best opening riff of the record. Take a pause for unabashed headbanging here. It’s non stop. Really take note that each instrument really gets a chance to shine for itself on this track as well. It absolutely does not feel like filer. In fact, there is no filler moment on this record. Period. The Obliterators bring the vocals to the forefront again, and the guttural tone really shines against the lightning fast picking. There’s also these little guitar licks that light it up past the intro, and the bass and drums then get their chance as they roar to life, transitioning to chuggy riffing as the tempo slows. Just stellar, stellar lead guitar and drum work front to back on this track. Noticing a pattern? Right when the track seemingly reaches its natural end, the back quiets it out and then slams back full force. It’s a sonic sight to behold.

Eternity’s End is the magnum opus. A twelve minute stretch of sheer talent. Blast beats start an all out assault that breathes as acoustic guitar passages cut through like beautiful interludes. Guitars, guitars, guitars again are the star of the show with arpeggio harmonies for days and the vocals the best of the record here. It’s never boring, and at about eight minutes in, the pure melodeath bliss begins with machine gun drums guitars that soar higher than ever. Every harmony is spot on, and the song rises like Icarus before crashing back into pits of filth and brutality. It’s a delicate dance; a perfect ballet of darkness and light, with light prevailing as cellos and acoustic guitar end the track on a blissfully perfect note. This transitions to Reflections, a fitting end to an album that keeps the listener guessing while, playing wise, doing everything absolutely right. This last track is a reflective and spacey bit of acoustic guitar work with even more harmonies, because who can get enough of them! It’s a bit repetitive and a solid punch ending would have been nice, but it fits with the program and it can’t be faulted for that.

Eternity’s End is a stunning record, and a massively fun one to listen to as well. If it wasn’t for the mixing and production issues stated off the bat, then this record would be easily close to the top of mountain. And on its own it’s a truly inspiring collection of songs featuring some of the most incredible musicianship and craftsmanship seen from a young melodic death metal band in some time. ASTRALBORNE should be proud, and they shouldn’t be surprised that Prosthetic saw the talent and promise that lies within. This band is officially on the radar for the long haul.

Rating: 9/10

Eternity’s End is out now via Prosthetic Records.

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