".... defines Éohum as easily the most original and inventive band out there."
Powerplay Rock and Metal Magazine UK
"The debut album from Canadian metallers Éohum is a fascinating proposition which manages to startle and surprise whilst simultaneously ticking every box on a personal want list from any weave of music. It is as if they instinctively knew what turned us on and explored those elements with relish. It is fair to say that Revelations, Aurora of An Epoch will not find the same level of reaction from everyone but it is hard to imagine many not breeding some kind of appetite for it and the band’s creative adventure.
The Montreal based and 2010 formed, Éohum (pronounced ee-o-um) is the creation of guitarist/bassist Jeremy Perkins, a “traditionalist and spirit oriented” band embracing a black metal breeding with anthemic grooving and doom cultured atmospheres. Equally in songs inspired by poems written by Perkins on the current state of humanity, rich elements of death and progressive metal are woven though not quite as dramatically and excitingly as the almost exotic roars of French horn which also inflame the album’s earlier tracks. The band’s live line-up sees Perkins joined by guitarist Sylvain Dumont and Annie Perreault on French horn/trumpet as well as bassist James Heymans, drummer Simon Bambic-Mackay of The Agonist and vocalist Barrie Butler. For the album though, Perkins enlisted the help of friends alongside himself, Dumont and Perreault; guests which include vocally Matt McGachy of Cryptopsy and Nick Wybo (ex-Vinyl Hero) on drums. It all sounds a fluid and unpredictable canvas the band works from and certainly flows over into the music and character of Revelations, Aurora Of An Epoch.
The album surprises and fascinates from start to finish, increasing in stature and success with every listen as more of its depths are revealed. The opening Leaving Harbour is maybe not quite the same but only because once the sultry scenery around a vocal piece of scene setting prose narrated by Lana Edwards is absorbed and appreciated, the tendency in every subsequent listen is to cut to the chase which begins with the next track Rooted Deep Within. An eruption of battlefield mayhem hits the imagination first but is soon swallowed by the imposing muscular and portentous intensity of death spawned riffs and rhythms. That alone grips attention but with the heralding horns blown by the lips of Perreault, an epically honed atmosphere makes its suggestive intrigue known before the track explodes into a virulent pestilential charge of venomous grooves and scarring riffery. The tempestuous instrumental track is like a hellacious dawning, one of danger and excitement employing wrong-footing experimental twists and progressive ideation.
Eohum Revelations Album Cover copy The piece simply grips and inflames the imagination, not to mention ears, before Equatorial Rains takes over with a more temperate climate and confrontation. A deliciously throaty and resonating bassline from Perkins seduces ears and appetite straight away, swiftly aided by the flames of brass from Perrault and the caustic enterprise sculpted by the guitars. The breaking blackened malevolence and uncompromising rabidity in gait and aggression brings further appetising flavours and textures to the ever moving volume of sound and invention, as does the ferocious and cleaner rasping tones of McGachy. It is a formidable and relentlessly eventful provocation feeding ears and emotions potently with those horns the icing on the emotive antagonistic cake.
Defined Sacredness comes next, opening on a predatory prowl of rhythms and riffs, each almost more theatrical in their stance than vicious but only helping lure the listener into the waiting slightly demonic narrative of fierce corrosive sound and rage bleeding vocals. Stabs of brass and heavy sighs of horn colour the hostile persuasion further, their toxic hues as virulently alluring as the riveting presence of McGachy.
The album’s title track has body and thoughts enthralled from its first breath; a roar of French horn announcing the tempest to come like a war cry, casting a challenge to be met before the song swiftly begins savaging the senses with sheer malicious contagion and intensity. It is a call continuing through the superb track, those golden flames of the horns an inescapable web of seduction within the destructive and to be honest equally addictive torrent of scarring grooves, abrasing riffery, and merciless rhythms. Bracing and arousing, like an anthem bred in hell, the track is a hymn for the lost and bellow for the despoilers, and quite breath-taking.
In many ways this is where Revelations, Aurora of an Epoch goes in a different direction, or certainly a less provocatively adventurous one. Wiser Every Sunrise which features Phillip Rieder on vocals is a collusion of heavy, groove, and death metal with hardcore/punk belligerence. Strangely familiar for unsure reasons, the enjoyable track is a brawling and volatile slab of animosity but even though it has ears and satisfaction heartily contented it does not live up to the previous tracks, feeling slightly out of place alongside them, which also applies to a lesser degree to Thus Spewed Thy Infectious Reign, a death spawned ravaging with a doom fuelled gait guided by an unpredictable creative menace. As its predecessor, the song only leaves good thoughts, inspiring them to contemplate the end of days/humanity but also hankering for the glorious horns and imagination seeded swing of earlier tracks.
Closing on Give Us O’ Rain, another piece of prose sung by Lana Edwards, Revelations, Aurora of An Epoch provides one predominately unique and intoxicating introduction to a band you can only imagine getting bigger, creatively grander, and more impressive over time. As suggested it might not light everyone’s fire as ours but if the likes of Emperor, Dimmu Borgir, Trepalium, and We All Die (Laughing) for example spark your juices, then so will Éohum."
" When I hear someone talk about modern avant-garde (innovative) black metal then I expect Éohum to be the first band to come to mind with their upcoming debut album “Revelations, Aurora of An Epoch” being smart, different, and had an organic sound to it that doesn’t come around as much as it used to.
The album started out with a woman reciting a poem about the state of modern humanity, then playing sounds of human devastation such as the sound of a falling tree (deforestation, I assume) and then the sound of many guns being fired (war). And then the rest of the album has this great, organic (today’s special word) feel to it that persists the whole length of the album with a raw but organized sound to it that was just done extremely well.
“Revelations, Aurora of An Epoch” is no doubt just the surface of the surface of the talent that Éohum has up their sleeves for future music because music like this does not simply get spent on one album, and will not nine times out of ten.
“Revelations, Aurora of An Epoch” comes out April 7th .........
Review from : metal-addicts.com/site/eohum-revelations-aurora-of-an-epoch/ metal-addicts.com
"Éohum's Revelations, Aurora of An Epoch comes out on April 7, 2015. It's definitely something new in the metal world. The opening track, Leaving Harbour, was oddly spiritual. It was strange, almost primitive and definitely not metal, or even music, but spoken word. I was afraid that this album was just going to be super weird, but it changes fast to something super awesome!
Feeling more like the soundtrack to a movie than a metal album, Revelations, Aurora of An Epoch is adventerous and new in a world where a lot of music sounds the same. It smashes the expectations of predictable.
The metal started up with the second song, Rooted Deep Within, an instrumental track that gets the heart absolutely pounding. I love the strong guitars in this song. Éohum is a force to be reckoned with, especially once the raging vocals start on the third track, Equatorial Rains. The whole album is new and unique and absolutely genius. I love the way the intensity and the sound slowly build up and then you're full on into this great blackened doom metal album. Éohum's Revelations, Aurora of An Epoch is going to be one of those classic albums that stands the test of time. I'm not going to spoil you with the track by tracks, there's a few more surprises in there and you NEED to experience this. Check it out!!!"
Review from : www.metalheadblog.com/2015/04/eohums-revelations-aurora-of-epoch.html
"I have a documented love/hate relationship with progressive metal. It seems like you have to wade through a lot of bad or poorly-arranged ideas by overly sedated bands to get to the blow-your-pants-off well-developed bands. But that’s just me.
The French, however, really freaking dig experimental stuff. Gojira, Gorod, Year of No Light, Old Dead Tree, Monarch!, Witchthroat Serpent, and 14:13 are among the ranks of French bands that push the envelope of heavy music. Canadians also have a superb crop of prog bands, what with their Rush, Devin Townsend, Mandroid Echostar, and Protest the Hero.
What would happen if these two forces of nature were combined? Would a French Canadian prog metal band be a Weapon X level mutant of immeasurable experimentation and grooviness?
Maybe. I can’t decide if Éohum fits that bill or is just noise arranged by some obviously talented musicians. Sheer talent is evident in this progressive blackened doom band. When they start playing a riff where they just click, it’s impressive, even uplifting. It’s no easy task to do that with the components of the bands: a blast beating drummer, tons of speedy, grim guitars, a thunderous vocalist who both screams and sings, samples, and…a fucking horn section? The…fuck…?
Like I said, prog stuff normally isn’t my jug of wine (screw tea). I have a feeling, though, that Éohum are onto something. Especially with their album art, which is the coolest I’ve seen in a long time.
Give ‘em a shot and let us know in the comments or on Facebook if you think Éohum are the coolest thing since Germ-X or if you think they’ve licked too many frogs."
Review From : gunshyassassin.com/news/radar-eohum/
Formed in 2010, Éohum (pronounced ee-o-um) is produced, written and orchestrated from the mind of guitarist Jeremy Perkins to create a relentless, anthemic groove -doom- tinged black metal to emphasize a message of the current humane state on earth and our lost forebears beliefs, giving voice to the ancestral and our past symbiotic relationship with our land.
Éohum means ( the/those) Yew Trees,
The Yew tree which was simply (ēoh) in old english , so éohum is the dative case, when adding the -um at end in old english.
The logo holds within it this rune associated with our early language.
Debut DEMO release “Revelations, Aurora Of An Epoch” due out April 7th, 2015 features a collective of musicians that includes guest vocals from Matt McGachy (Cryptopsy) (Tracks 3-4-5-7), Lana Edwards (Intro & Outro), Phillippe Rieder (Track 6), Nick Wybo (ex-Vinyl Hero) on drums, Annie Perreault on French Horn/Trumpet, Sylvain Dumont on guitar, Cesar Franco on bass and Perkins himself on guitar plus a live line up that features drummer Luca Belviso Drums and vocalist Barrie Butler ( ex : Tard / Vancouver )
Lyrically the album is inspired by poems written by Perkins on the current state of humanity and our forebears tragic indoctrination.
“Humanities undeniably greed-filled eco genocide and our ancestors led astray thousands of yrs ago, is what drives my writing."
We are on a dark path and we feed it with everything we consume and we are so far away from our hearts, we must not forget who we are, whom we were and are becoming!”
Produced by J.R. Perkins
All Songs Composed and Arranged by J.R. Perkins*
All Lyrics Written by J.R Perkins*
Recorded Feb 2012 at Red Rhino Studios Mtl, Qc.
Engineer: Richie Vincent
Mastered by Ryan Morey
Band Logo Art : Joe Pimentel - Developed by J.R. Perkins
Photography : J.R. Perkins
Model : Anne-Marie Rossignol - nana-mi.com