Review by Krys on August 19, 2003.

After the break-up of Emperor, thousands of fans eagerly awaited any news from the Samoth and Trym camp hoping for any sort of continuation of this now legendary act. In 2001, Zyklon was the answer and became one of the most talked about underground bands on the planet. Parading an impressive mix of black and death metal, our two ex-members of Emperor teamed up with Destructhor (Myrkskog) and Daemon (Limbonic Art) unleashing their Zyklonic musical vision named "World ov Worms".

Two years after this highly acclaimed release the team returns with not just their most convincing work to date but with an album so complete and powerful that you will wet your bed for the next month straight while being let gasping for air in disbelief and excitement after each listen. With "Aeon" Zyklon not only proved its place in the top league of today's heavy hitters but made a strong mark that it's here to stay and ready to challenge anyone for the crown.

For those unfamiliar with their sound, the simplest way to describe it is as a hybrid between Morbid Angel and Emperor. But this description is as incomplete as your teeth would be when your jaw hits the floor shattering them. Need a proof? Listen to 'The Prophetic Method' and embrace fantastic licks harking Bay Area thrash at its best.

The guitar team of Samoth and Destructhor quickly is becoming one of the best axe duos of today's scene, perfectly complementing each other's skills. At times they are highly technical, but the obvious focus is on quality and creativity in the compositions. The result will blow you away not because of the speed but because of intelligent use of their craft in creating a cold and brutal atmosphere. That's right, atmosphere is the most noticeable change since their debut. An array of mid-tempo sections thunders around a variety of Trym rhythms and the sinister vocals of new member Secthdamon. Don't be alarmed though, Trym still dishes out plenty of whoop-ass by varying his drumming style the overall feel of the album comes as even more brutal and aggressive than "World ov Worms".

There's really nothing on "Aeon" that I can complain about. Every aspect is taken to the highest level and it just makes me wonder how the hell they can top this. Even the mic/bass debut of Secthdamon strikes as the best fit for this band. He uses every vocal style he has in his arsenal and does damn good job with it. Mothers hold your children, the storm is on the horizon and it's unstoppable.

Bottom Line: With the bar set so high "Aeon" not only will it be a challenge for any band to surpass but next time Zyklon themselves might be forced to call for reinforcements. For now though, let's enjoy this essential destruction tool of 2003 and leave this daunting task to unlimited creativity of Zyklon members.

Categorical Rating Breakdown

Musicianship: 10
Atmosphere: 9
Production: 10
Originality: 8
Overall: 10

Rating: 9.4 out of 10

Review by Dominik on January 22, 2025.

When we Germans think about the Dutch, the reactions are as varied as their bike collection. On the soccer field? Unforgivable. Our take of their love for cheese? An obsession bordering on religion. I mean we all know the Dutch anthem, which is the sound of someone unwrapping cheese. Caravans? They could tow the entire Netherlands behind a VW Golf if given the chance. Well, we poke fun but do so with a twinkle in our eyes. However, when it comes to Dutch (black) metal, that's where we drop the jokes and get serious. For a small country, their extreme metal scene punches well above its weight.

Enter Walg, hailing from Groningen—a city where 20% of the population is made up of students, most of whom are probably too busy partying to realize one of their hometown bands is quietly churning out black metal gold. Since their founding in 2021, Walg has released an album a year, all an assault of melodic black metal, with each one better than the last. And now, with IV, they've reached a creative peak that proves their plan is as solid as a Dutch dam. Their homeland may be flat as a pancake, but their music has a towering ambition.

The whole album is a consistent speedfest and pleasure for your strained ears. The song quality oscillates around a high level with just a few outliers in each direction. Everything feels being delivered by a mature band completely at ease with their approach.

The album kicks off with "Radeloos" ("Desperate"), a track which is anything but, and immediately sets the tone. Fast, furious, and melodic, it's a blueprint for the Walg formula: relentless speed tempered by subtle melodies that never veer into saccharine territory. Something reminds me of Finnish Catamenia in their prime, but with less snow and more canal water. Even the occasional keyboard accents feel carefully controlled, adding depth without drifting into the bloated bombast of symphonic black metal.

"Wanneer Het Glas Brekt" ("When the glass breaks") takes the momentum from the opener and cranks it up. This track is a melodic black metal masterclass: it alternates between blast beats, mid-tempo double bass, and well-placed acoustic breaks that feel like gasps of air in a hurricane. The vocals, shared by the two band members, are particularly striking, switching between classic black metal rasping, clean singing, and a desperate urgency that feels like someone shouting for help after falling into a black pit.

Another standout track is "Geen Einde In Zicht" ("No end in sight"), which shows just how far Walg is willing to push their creativity. Starting with a short folkloric intro, the song weaves its theme into the guitar riffs, creating a sense of cohesion that many bands would kill for. Mid song there's even an accordion tucked into the mix—a bold move that somehow works, though the fade-out feels like a missed opportunity for an even more memorable conclusion. Though it's not like the band decided to end the song with bicycle bells. Still, any track that manages to make an accordion find its place in black metal deserves respect.

But for all its variety, Warg's delivery never feels patched together, but the slower, sometimes atmospheric, sometimes acoustic breaks fit in well between the prevailing blasts. If you are more of the straightforward kind, then "Speel Met Mij" ("Play with me") is for you. The shortest track on the album, it's a relentless banger with clean vocals making a surprise appearance near the end. By the time it's over, you'll be reaching for the replay button faster than a Dutchman heading for his bike after spotting rain clouds. It's like a shot of Jenever: quick, potent, and leaving you wanting more.

Not everything on IV reaches the same heights. Both "Vuurdoop" ("Baptism of fire") and "Als Een Korrel Zand" ("Like a grain of sand") feel slightly less inspired, struggling to stand out in an otherwise stellar lineup. But even during its weaker moments, IV never falters entirely. Also these tracks showcase the band's consistent craftsmanship and attention to detail.

At its core, this album is a testament to Walg's growth as a band. A band that knows exactly what it wants to do and executes it with precision. The balance between speed, melody, and occasional surprises like that accordion ensures the album remains engaging from start to finish. For black metal fans who enjoy their steak medium rather than still dripping blood, IV is an album worth savoring.

And if you order directly from the band, Rob will include a personal note—a charmingly Dutch touch that reminds us that these maestros of mayhem are as down-to-earth as their homeland is flat, and who'd probably invite you for a beer after melting your face off with blast beats.

Rating: 8.5 out of 10 – because even the Dutch can't pedal fast enough to perfection, but damn if they don't get close.