Country: Greece (Athens)
Genre: Folk Metal / Melodic Death Metal
Release: 2025
For fans of: Theatre of Tragedy, Eluveitie, Ensiferum, Nightrage, Amorphis.
Athenian folk metallers Kosmogonia present their second complete studio work, titled “Aella”. Drawing inspiration from Greek mythology and the metaphysical element, the album unfolds a distinctive concept around the turbulent life of Princess Aella, seen through the eyes of her daughter. The production of the record was undertaken by the acclaimed Yorgos Nerantzis (Pain Of Salvation, Nightrage, Gus G.). Musically, the band manages to combine atmospheric and pastoral elements with extreme death, doom and symphonic metal influences, confirming in the best possible way its musical identity on the scene.
Tracklist :
- Prologue – The Journey Begins
- The Rise
- Hold Me
- The Oracle
- Scheme and Rebirth
- Fire’s Song
- The Fate
- Thoughts
- Wolf’s Howl
- Elixir
- Last Path
- The Fall
- Oblivion
- Epilogue
REVIEW : If you’re looking for a record that will take you to lush, dense forests and drop you straight into the middle of an ancient war film, Kosmogonia’s “Aella” is exactly what you need. The band from Athens shows tremendous maturity and builds an excellent sonic setting where death metal coexists in absolute harmony with the folk element. From the opening “Prologue” and “The Rise” with its sharp, megaton riffs, you understand that the record’s flow is exemplary. Personally, I singled out “The Oracle”, which balances perfectly between the explosive and the atmospheric, as well as “Scheme And Rebirth”, which melodeath fans will love for its excellent breakdowns and foundation-stone guitars.
The band knows how to alternate tempos and emotions. On “The Fate” the flute steals the show, delivering insane intensity and adrenaline, while “Wolf’s Howl” stands out thanks to the keyboards, the harmonious blend of growls with ethereal vocals and a heavy, slow doom element that pins you to your seat. For the trve folk metallers, “Elixir” is the album’s ultimate pastoral moment, a beautiful, natural dialogue between instruments and voices. At the close, the symphonic rhythms and dramatic violins of “Oblivion” perfectly complete the cycle. If I had to find one small detail, maybe I’d want the narrator’s voice in the epilogue to sit a little better with the music’s frequency, but that doesn’t harm the cohesion at all. Overall, we’re talking about a beautiful, nostalgic jumble of doom, death, folk and gothic elements that brings to mind the golden days of Theatre of Tragedy. Don’t skip it!
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