History & Biography Damnation Path became Damnation Aeon in 2024. The death metal band released a debut demo, called Abandon Hope, in 2024. It contained a track called To The Dead And Alive And Unborn, Pt. 2.
Ukraine-based Damnation Aeon has released its debut album, In Flame We Trust, through Eclectic Productions. "The album deals with the destructive consequences of faith, especially Christian faith, on the individual and on humanity as a whole," according to the publicity. The band was created by Lucifer, bassist of Balance Interruption and Goat Sperm, together with drummer Dmytro Kim of Balance Interruption, former Jinjer member, and live member of Patriarkh among a gazillion other acts.
Reviews DAMNATION AEON - IN FLAME WE TRUST - ECLECTIC 
Despite early misgivings, Damnation Aeon's In Flame We Trust sounds good upon first listen. Very good. Unfortunately, the more the album reveals itself, the less likeable it becomes. This is a function of the impurity the band piles on. The initial listen presents a brutal techno-death band with speed, heaviness and deep vocals. Soon enough, all the extraneous bits and pieces become more audible. The review began with the mention of a misgiving. That is related to the band featuring a former Jinjer member. Said man, drummer Dmytro Kim, is admittedly in every band out there and never says no, but seeing Jinjer in his publicity blurb had me running (in the opposite direction). As it turns out, some of that doubt was justified.
The first track, Vagaries Of Perception begins with an intro before showcasing the group's brand of techno-doom death. The doom mingles with disharmonic riffs, creating a cacophony befitting true death metal. As we now know, the feeling does not stretch to the album's end. Exaltation is a good track with one particular heavy riff that unfortunately does not last. The spoken word vocals on Feast Of Worms comes across as ritualistic litany. Slave’s silly vocals undermine the hard-hitting brutality of the drums. The first half of Gate Of Sheol is filler, but then the song suddenly picks up and adds harrowing sentiments including eerie guitar effects and a bass that rattles. The bass drums remain invasive. For The Dead, The Living And The Unborn - the band had previously released a part 2 - is nothing but inclusive, of course, but it is the musical answer to a cold shower. What begins as a bludgeoning song veers into loserville when an ill-fitting and incongruous saxophone barges into the mix. Of course, once Rivers of Nihil did it, others apparently had to follow, but that does not make the idea any better. Need proof? Hear the song. To be fair to the band, perhaps their primary influence is … Foreigner or Earth, Wind & Fire? The title track delivers some gothic singing and more saxophones.
The album title sounds cool or edgy, but even so makes a lot more sense when one sees the cover artwork. The band has plenty of extreme brutality and underground heaviness, but the occasional spoken word vocals, pop instrumentation and filler bits pile on. Essentially, I love a saxophone/keyboard/banjo/flute/whatever as much as the next person. All I ask is that they wait until the song is over. - Ali "The Metallian"
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