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“Worldshapers”, the seventh Aurora Borealis album, is a culmination of the more death metal oriented approach they have been hinting at since “Relinquish”. Stylistically it is similar to its predecessor “Timeline”, both in concept and in design. Being more of a side-story than a direct continuation of the “Timeline” narrative, “World Shapers” is the most versatile and complete Aurora Borealis album to date. While other bands might be considered more readily marketable Aurora Borealis has a level of consistency and quality that few can match, or surpass. “Worldshapers” is another worthwhile addition to the canon of a band that has never delivered a subpar product since forming.

The record derives its strength from its internal and external consistency. Bolstering the masterful songwriting of creative force Ron Vento is the stability within the ranks. Mark Green (drums) and Jason Ian-Vaughn Eckert (bass guitar) man their known positions, and each player is at the top of his game. The evolution that was initiated with “Relinquish” continues as Aurora Borealis explores the death metal end of the spectrum within its death/black metal framework. Thematically “Worldshapers” delves deeper into the “Timeline” concept, but it is a side-story rather than a direct continuation. As in the past releases the lyrics are incredibly well written and thoroughly researched. The atmospheric enhancement through the usage of well-placed studio effects introduced on “Timeline” is further expanded upon and better integrated into the each of the songs.

420_photo‘In the Beginning’ functions similarly as ‘Our Legacy’ on the preceding “Timeline”. “Worldshapers” features the fastest, and most technical drumming yet on an Aurora Borealis record, but each of these relentless tracks is based around wonderful arrangements, dynamic tempo changes and crunchy midtempo sections with flowing bass licks, and a multiple sparkling solos. Opener ‘God Like Redemption’ displays Vento’s further mastery of his chosen style. Despite its leaning towards death metal Vento’s serpentine rasps are at his most hissing. The guitar riffing, and chord progressions are more typically death metal - technical without being excessive, and violent without being overbearing - but weaved through out Vento’s signature melodies. ‘The Oldest Of Dilemmas’ and ‘Watchers From Above’ offer up a number of excellent solos, this is especially the case with the latter track. ‘This Is the Way They Choose to Die’ has the best bass licks on the record, with Jason Ian-Vaughn Eckert confidently breaking away from solely doubling the guitars, and writing some truly funky lines that complement the riffs, and chords. ‘And to the stars Returned’ is the most melodic, and diverse, the trio has ever sounded without doing concessions to its overall heaviness.

“Worldshapers” isn’t a direct continuation of the “Timeline” concept in the traditional sense, but a side-story set within the same conceptual framework. Thus “Worldshapers” chronicles a self-contained plot about the colonization of other habitable planets across the multiverse by alien lifeforms after mankind’s end on Earth. The first half concerns itself with abductions and experimentation on human subjects as a way of obtaining mankind's genetic blueprint. The second half of the album is decidedly more philosophically inclined, such as the pondering on the essence of human existence in ‘The Oldest Of Dilemmas’, mankind’s nature to destroy itself (‘Watchers From Above’, ‘This is the Way They Choose to Die’), ‘A Subtle Way to Eradicate Them’ poses that man’s god images come from superior extraterrestrial lifeforms, and their obfuscation of their origins and true objectives. ‘Silent War’ details said extraterrestrial lifeforms experiments through the ages and through the multiverse. Concludingly ‘And to the Stars Returned’ describes the inevitable and inexorable passage of time that even other lifeforms are not immune to, and that our enslavers must eventually answer to higher beings of their own.

There’s a wonderful sense of cohesion, conceptually and musically, to Aurora Borealis’ second era. While “Worldshapers” ramps up the speed once again it never loses sight of its melodic sensibilities. No other band combined death – and black metal as fluently as Aurora Borealis did over the course of its discography. Arguably Florida bruisers Order Of Ennead took a page or two from what Aurora Borealis carved out. “Worldshapers” is a refinement of what “Timeline” did prior, and the fact that both records are structured similarly is advantageous for the flow of each of the songs. Each member delivers an exemplary performance on the record, and surely Mark Green will follow in the footsteps of his illustrious predecessors Tony Laureano, Derek Roddy, and Tim Yeung. Years of toiling away in the underground have finally paid off as now more than ever Aurora Borealis is getting the accolades and critical praise they deserved many years ago.

As per usual “Worldshapers” was recorded at Nightsky Studios in Waldorf, Maryland with Ron Vento producing. “Timeline” introduced a previously unheard level of smoothness, sheen and crispness without sounding overly digital. “Worldshapers” uses the same template but enhances the production with more depth, texture and range. Unlike a lot of contemporary productions the bass guitar can actually be heard. Once again Vento commissioned artwork by Mike Hrubovcak (Divine Rapture, Monstrosity, Vile). For the first time since “Time, Unveiled” Aurora Borealis worked with a label again. “World Shapers” was released through Xtreem Music, the label from Avulsed frontman David Sánchez González (Dave Rotten), to lauding reviews the world over. In partnership with its Spanish label Aurora Borealis now reached a wider audience than ever before, and the accolades bestowed upon the trio brought a renewed interest in its catalog of earlier albums.



On all fronts “Relinquish”, the fourth Aurora Borealis full-length, was a return to the past. Not since “Praise the Archaic Lights Embrace” had the band sounded so overtly death metal. The most important reason for this increase in heaviness and speed can be contributed to a returning Tony Laureano, who by this time had ended his association with South Carolina death metal titans Nile. The album is far more prominently death metal-oriented compared to the previous two albums, and it is heavy and unforgivingly fast to the point of exhaustion. While it is different stylistically from the preceding records it is a worthwhile exploration of Aurora Borealis’ heavier side, and one that could easy match, if not surpass, any of the big league players on the scene that year.

The thoroughly annihilating nature of “Relinquish” makes it architecturally closer related to Hate Eternal’s “King Of All Kings” and Krisiun’s “Black Force Domain” than any of the band’s more melodic prior records. Despite the overall increase in speed and percussive density Aurora Borealis retains its European riffing and melodic sensibility. Around this time Tampa, Florida combo Order Of Ennead was pushing a similar sound combined with extensive neo-classical solo’ing. While Order Of Ennead isn’t quite as punishing as Aurora Borealis is here, their big-name cast did steal the thunder of this record. It is plainly better than anything the other band put out. Aurora Borealis doesn’t completely abandon its established epic sound, which a track as ‘Let the Games Begin’ aptly demonstrates. In a time where metal productions were getting increasingly less bass-heavy “Relinquish” prominently features a throbbing bass guitar. Even though it offers far and few actual memorable passages, in the least it can be heard on the album. To hear the bass guitar this clearly had been becoming more of a rarity in recent times, especially in the death metal scene – where sterility, flatness and clinical soullessness was becoming the norm in both professional and home-recorded productions.

eAfter two more black metal oriented offerings “Relinquish” instead is in the tradition of “Praise the Archaic Lights Embrace”. The increased death metal aspect of the album can largely be attributed to the greater than before levels of speed, solos, and the percussive density that Tony Laureano brings to the proceedings. Also carried over largely from the debut, and its preceding EP, is the fascination with ancient Egypt and Rome. ‘Myths Of the Light’ is about the significance of light through out history, and mythology. ‘Let the Games Begin’ is about the gladiatorial fights of Rome in times immemorial. ‘Ravaged By Fire’ is about the Great Fire of Rome. ‘God Wills It’ details the occupation of the Dome Of the Rock by the Knights Templar during the Crusades. ‘The Red Flag’ is about piracy during the Age Of Discovery. ‘River Through the Skies’ continues Vento’s interest in ancient Egypt, whereas ‘Tonight We Feast’ is the band’s maiden voyage into Aztec mythology and history. ‘Black Snow’, given Vento’s predilection towards ancient Rome, in all probability is about the destruction of Pompeii by the eruption of Mount Vesuvius.

As always Tony Laureano has one of the best drum tones in the business. Much like his colleagues Derek Roddy and Tim Yeung he has a recognizable tone that sounds fantastic regardless of in which band setup it is used. There is something slightly thrashy about “Relinquish”, especially in regards to a track as ‘God Wills It’ with its multiple screaming solos. It is an aspect that was never truly explored within Aurora Borealis, and this deepening out of its sound only show the compositional skill of central figurehead Ron Vento. Once past the halfway mark the album shows its dynamic range with songs that focus less on straightforward blasting. Tracks as ‘The Red Flag’ and ‘River Through the Skies’ are prime examples of Aurora Borealis’ more technically inclined material for this session. ‘Tonight We Feast’ is compositionally closest to the “Mansions Of Eternity” EP. The album ends on an unspectacular note with ‘Black Snow’, which despite the presence of a few very worthwhile drum passages, isn’t quite the big album closer you’d imagine.

As per usual the album was recorded at Nightsky Studios in Waldorf, Maryland with Ron Vento producing. “Relinquish” is easiest the bass-heaviest of all Aurora Borealis releases with a drum tone that surpasses Nile’s “In Their Darkened Shrines” on which Laureano also featured. By all accounts “Relinquish” is the most straightforward of the band’s releases, and its most overt death metal oriented one. This comes in no small way due to the all-encompassing drumwork of Tony Laureano, whose kit features prominently in the mix. On the visual side there’s a break with the past in that “Relinquish” is the first to feature artwork by Mike Hrubovcak (Divine Rapture, Monstrosity, Vile), who would come to define the more cinematic vistas of the later albums in the band’s catalog. The vista is a neon-lit combination of Aztec, Teotihuacan, Mayan and Egyptian constructions. While accomplished in its own right, it makes you wonder what long-time artist Jay Marsh could have rendered with the same basic outline.

As it stands “Relinquish” is the only album of its kind in the band’s catalog to date. The increased level of speed often is detrimental to the grandiose melodies that are woven into each of the cuts, and not even the greater presence of masterful solos/leads can redeem them. Past Aurora Borealis albums would also be speedy, but never to the point of being a detriment to the classy songwriting that emphasized the intelligent lyrical content. While “Relinquish” is a lesser Aurora Borealis album, it is still leagues better than the average production of most underground death metal units. The sheer professionalism that is evinced from the product is something that precious few - even among the big name bands on major labels - can hope to match, or surpass. As a transitional record in between the band’s distinct first – and second era it comes off a lot more favorably, and this is (in hindsight) what it should be considered as. “Relinquish” is as pummeling, and straightforward as Aurora Borealis would come in its US death metal architecture. Without downplaying its Eurpean sense of melodicism and structure, it does prove that Aurora Borealis can easily compete with the brutal subset of the genre.