Ex Deo’s ferocity and brutality were renowned for their signature sound and lyrical content, which focused on Roman history, thus creating a soundtrack that narrates the bloody battles of Ancient Rome. The four-song EP “Year of the Four Emperor” features the symphonic mid-tempo exquisitely arranged and composed by Maurizio Iacono (vocals), Jean-François Dagenais, and Stéphane Barbe (guitars) and Dano Apekian (bass guitar), James Payne (drums) and Clemens Wijers (orchestration).

The EP is so expansive in its scale and musical complexion that it borders on epic symphonic segments and sounds very aggressive, mostly settling on the slow and mid-tempo. The drumming and the guitar work in the opening track “Galba” lets you imagine the archer forces in epic battles.

The stories of the legendary warriors are commemorated through the classic tales of the four emperors. Each of the four emperors dealt with betrayal and greed and launched battles against each other, the concept EP narrates the historical events following Emperor Nero’s suicide.

The war-like riffs and the atmosphere are very captivating, there is some great drumming and overridden brutal chugs utilized along with the atmospheric and orchestral sections to cinematic moments. The quality of the guitar melodies and riffing surge gloriously. The chugging of the guitars bolsters the song and not to forget the growls of Maurizio Iacono who sounds like a roaring lion.

“Otho” begins in a very epic manner, the slow drumming and the guitar riffs have an atmospheric and heavy sound, with some orchestral sections that provide the real thrills. Galloping riffs and melodies add more adventurous and battle-paced rhythm effects, bolstered by the sheer power of the drumming.

The song “Vitellius” is named after the Roman emperor who became an emperor following the quick succession of the previous emperors Galba and Otho in AD 69. Ex Deo combines the bombastic orchestral arrangements and catchy melodic riffs, thus unveiling the beauty of the composition that highlights the synth textures and menacing epic riffs.

Sounding musically relentless, Ex Deo weaves a multitude of grand sonic effects by giving the songs a glorious feel to make them more compelling. The choral singing and the echoey bombastic choruses use pompous elements to create balance between the up-tempo and the groovy sections.

In the final song, “Vespasian”, the quintet emphasizes aggression, focusing on infesting the music with prominent keyboards, bombastic choirs, and tempo changes. The listener is carried through the fierce battles. The dual guitars add heaviness that sometimes recalls Amon Amarth, and the ultra-drumming intersperses with great melodies and riffing eruptions.

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