Aeon of Horus: Far Beyond Existence

This Is The Band You've Been Waiting For

Ferocity is on the menu for Canberra’s Aeon of Horus this (Southern) Autumn; if malice is their plate than wrath is their knife as this prominent power that subsists is set to puncture the moral foundation of all those who resist. Further intensification and growth have engaged the band over the past twelve months as Aeon prepare for the official release of their sophomore album. Metal As Fuck caught up with drummer Ben Hocking last week who describes the bands shift as a deeper focus on their creative outlet “the eventual music is the sum of each of our individual influences. We just write against a backdrop of our mutual love of heavy and atmospheric music. More broadly, I think we’ve all come to the conclusion that it is almost impossible to earn any sort of money in a niche genre like progressive metal so for us now the creative process and writing music that is challenging for us is paramount and probably the source of most fulfillment for us”.

The music of Aeon of Horus has continuously proven its uniqueness to fans and critics alike; a claim all bands inelegantly make yet Aeon prove this statement with their enthusiasm for experimentation and admit that the process is almost competitive between them “I think we all really get off on working on each other’s ideas and turning them into something new they were never intended to be. We allow ourselves to go anywhere and everywhere when we’re in that zone – we’ll usually rein it in later and continue to refine but we find that letting different things creep in is often the way we write our best material”. A method of which can also be extremely punishing and frustrating adds Ben yet the importance of keeping a fresh perspective when creating the music of Aeon of Horus remains paramount.

Leaving no stone unturned and having no boundaries whilst writing, do you face any challenges with this "untamed" method? “Yes, it often takes long time to get things exactly how we want them. We wrote, demoed and even recorded quite a few parts/songs for the album that never made it. We don't necessarily think it’s a bad thing, but it can be a pretty punishing and at times frustrating process, particularly where always trying to keep things fresh and exciting to our own ears”.

Several new styles have been incorporated into Existence including jazz elements and a more progressive avenue that has given Aeon a new edge. These inclusions will encompass listening for all walks of life, how strenuous was this process whilst writing? “We hope that people from all walks of life will get into the album – hopefully even some people who aren’t into metal will find elements in there that they like. The process of incorporating the new elements was not particularly strenuous process – we all listen to wide array of genres (including jazz) and those elements just kind of naturally leaked into the album through the creative process. It wasn’t necessarily a conscious decision per se”. Aeon has been congratulated on mastering the balancing act; a perfect blend is Existence. Focusing more on the atmosphere overall so where does your mind go when writing/playing this new music of Aeon? “We all really love well written progressive songs – Steven Wilson and Porcupine Tree have been a big influence in this sense. I think there can be a tendency for progressive bands to just slap different parts together with no consideration of the song as a whole. It can be really challenging at times and we spent many hours banging our heads against the wall trying to find the structure that best fitted the song, but it’s really worth it when you have that ‘aha’ moment and it all fits. Those are our favourite songs”.

Existence features two key players that Ben states as to having a large impact on the final outcome of the album “The majority of the record was written as a three piece (being myself, keyboard player/vocalist Andy Annand and Peter Meere (guitars)). We think Adam [Brown]’s bass playing really complemented the sound of the album. He doesn't specifically come from a metal background, which is actually something that we wanted in a bass player. He loves his funk and fusion music, so that really impacted the sound of the record. Carlo [Beasley] joined the band as a live member on the Spatial Interaction Tour in 2013 and he fits the sound and philosophy really well. We ended up taking him on as a full time member! We have been writing new songs with both of them and its going great! We really can't wait to get going on the next record”. However before we start rubbing out hands together we must first experience Existence through a mighty busy tour schedule the boys are endeavouring on this year “We have a bunch of Australian dates in the pipeline including some great festivals all over the country. Then we head over to Europe for the Prog Power Festival and a bunch of other dates in October. We plan on writing new material throughout the year as well”.