Epoch Of Unlight
Gig Seeker Pro

Epoch Of Unlight

Band Metal


This band has not uploaded any videos
This band has not uploaded any videos


The best kept secret in music


"Digital Metal review"

I’ll admit it. This was easily one of my most anticipated released for 2005, and upon looking at the cosmic album artwork and equally celestial song titles, I had some pangs of disappointment as I braced for a cyber/space metal style change from one of my favorite bands. However, upon hitting play and being greeted with the glorious tones of the title track, my fear abated as despite their superficial makeover, Epoch of Unlight are still a staggeringly brilliant and gloriously epic black/death/thrash outfit that eat, drink, and shit stellar riffs.

Despite a lineup overhaul that’s sees Fallen Empire screamer BJ Cook replace Jason Smith and his cartoonish squeals and Josh Braddock take over Smith’s guitar duties, the driving force of Epoch of Unlight is still present and that is underrated drummer and main song writer Tino LoSicco. LoSicco has a wicked knack for penning stupendously epic and seething riffs that are harmonic and biting, and he does it consistently for the entire album, with some help from Braddock. His unique writing style carries over to his borderline chaotic drumming style that’s brash and sometimes comes across as sloppy, but it all fits the sound that Epoch of Unlight purvey. While the lyrical theme seems to have shifted star ward, the music still has the barbaric, seething yet grandiose vibe as the last two albums; sweeping yet complex, epic yet acidic. Every song on Continuum Hypothesis is a vortex of swirling magnificence and drips with melodic venom.

After the impressive title track and the blistering “Under Starside Skies”, the album’s first truly killer cut “Argentum” opens with an austere pace and spoken word before unleashing a ballistically melodic assault that few bands can match for harmony and intensity. “Cardinality” has a rollicking NWBHM/thrash sound that could have come from Caught in The Unlight (and is indeed one of the older songs). The first measure of restraint surfaces at the beginning of “Highgate”, but the silence is soon shattered by yet more vitriolic riffage and Cook's far more tempered screeches. The second real standout “The End of All” embraces a frosty Scandinavian hyperspeed gait, before reigning in for a simply breathtaking thrash/death romp. Seriously, there’s not a bad riff on this album. Even at a lengthy 53 minutes, the album never wanes and even the often familiar gait of some of the songs remains entertaining.

If I had to pin point a ‘weak’ track, it’s the mid paced “Broken Pendulum”, which while dexterous and well played, slightly lacks the sheer intensity of the rest of the album. But it does serve as somewhat of a breather. As if to simply show off his consistent song writing skills, the 1995 penned “Denubrum” despite its base level savagery, goes toe to toe with all of the new material sandwiched between the What Will Be Has Been styled “Quicksilver to Ash” and brash album closer “The Scarlet Thread”. The no name production keeps the bands character so they don't sound like an “Abyss” or “Berno” band and it fits their convulsive, rousing anthems perfectly.

This band is so damned good it’s unfair to the rest of US black metal.
[Erik Thomas]
Posted 03/22/05. - www.digitalmetal.com

"Worm Gear Review"

EPOCH OF UNLIGHT - The Continuum Hypothesis
I gotta hand it to Epoch of Unlight, they really haven't changed at all since their inception which drives the whole "if it aint broke, don't fix it" proverb home time and time again. "The Continuum Hypothesis" stands as all the EoU albums have before it... built on blazing, though amazingly precise blast beats and guitar riffs that fall in and out of dissonant aggression and very memorable hooks. The overall clean production and clinically neat layers within the music make the material on this album very easy to comprehend even though there is a definite level of intensity on display here that very few bands can match. The solo work and overall motion in the guitar riffs is endlessly inspired and deep, offering the listener a barrage of atypical song ideas that stick in the head with harmonies that sound as if they were derived from some ancient Mesopotamian scale. Certain riffs put me in mind of Israel's Melechesh, but the similarities are like night and day as Epoch effortlessly bury the aforementioned band by mixing up their delivery and songwriting style rather than living and dying by the same cultural back beat and set of scales. Harsh vocals somehow offer up a sense of clarity in the lyrical department, which is also a bizarre twist on the often caustically muffled black metal aesthetic when a screamer is involved. "The Continuum Hypothesis" is yet another jewel in this bands consistently great back catalog and they have achieved this impressive level by defining a sound that is truly their own and sticking to it. Thrashing black metal goodness. - Marty
THE END RECORDS - http://crionicmind.org/wormgear/


1994 - demo - Beyond the Pale
1995 - MCD - Within the Night
1997 - MCD - Black & Crimson Glory
1998 - CD - What Will Be Has Been
2001 - CD - Caught in the Unlight
2003 - 7" - Corruption in Increments (Split with Goatwhore including Kreator and ATG covers)
2005 - CD - The Continuum Hypothesis


Feeling a bit camera shy


The band has existed in various forms under different names since 1990 but it wasn’t until 1994 they officially decided upon EPOCH OF UNLIGHT.

It was this later this year that their first demo, “Beyond the Pale”, was released as a 4 song cassette. In 1995 they recorded their second demo, 'Within The Night…' as a 4-song MCD, and in May of 1997 they returned to the studio to record three new tracks. The new songs have been released as a promo CD entitled 'Black & Crimson Glory”. This promo captured the attention of many labels and in the winter of 1998, EPOCH OF UNLIGHT signed with THE END RECORDS. Shortly thereafter the band entered the studio to record their debut full-length album. Entitled 'What Will Be Has Been', the album was described as a mix of melodic death/black metal.

The band supported the release with countless live shows including a five week national tour with Dimmu Borgir and Samael. The tour consisted of over 30 shows in the major metal cities all across the USA .

The second album, “Caught In The Unlight!”, was recorded in December of 2000 with Keith Falgout (Soilent Green, Crisis, Crowbar and Cephalic Carnage, among others). The result was a sonic assault of 10 aggressive tracks that were more intense, technical, and melodic than the debut attributing to an album that is memorable and varied at the same time.

The band supported “C.I.T.U.” with numerous live shows through the country including a two week national tour with Enslaved and an appearance at the first annual Northern Lights Festival in Toronto, Canada.

In 2003 EOU recorded a cover of Kreator's 'Betrayer' and At the Gate’s ‘Raped by the Light of Christ’ for a split 7" single with Goatwhore through Bloated Goat Records.

The band entered Big Blue Meenie studio in New Jersey during October 27th through November 4th to record their third release for The End Records, entitled ”The Continuum Hypothesis”. The album was engineered and co-produced by Erin Farley (All Out War, Agnostic Front, Sick Of It All, Madball, M.O.D., Overkill, among others) The resulting 53+ minute album includes 11 new songs of brutally intense, melodic metal and features the debut of new singer B.J. Cook (a.k.a. Lord Hellspawn) from Arkansas' Fallen Empire.