KHORS

"Beautiful" is not a word used often in reviews of black metal albums, but in the case of KHORS' "Return to Abandoned" few other terms do justice to the sparkling melodies and progressively lush keyboard segments that are part and parcel to this well written album. One can call it symphonic black metal, pagan black metal, or atmospheric black metal and none of those descriptions would be inaccurate, yet none really tell the complete story either.

"Return to Abandoned" is that rare album that is able to combine the atmospheric, the melodic, and even the proggy with black/pagan metal traditionalisms and still maintain focus. In other words, the Ukrainian act excels at writing black metal songs that are progressive and pleasing to the ear, not unlike some of what BORKNAGAR creates (e.g. check out "Mysteries Cosmos"),and punctuating them with icy ethereality in just the right spots. As cheesy as it may sound, the images conjured run the gamut from harsh winter days and dark forests to those maddening dreams of running from some unknown danger out of pure desperation. You can insert your own image; let's just say that music for hot summer days and cruising down the main drag with the top down this is not.

The point is that on "Return to Abandoned" the beats are driving; the riffs are notably strong and the solos well placed/played; and the keyboard work is perfect. As if that weren't enough, the deep DM-ish growl of vocalist Jurgis injects these compositions with the kind of power one doesn't often hear from black metal of this sort. It all comes together splendidly on "Song of the Void", an outstanding track with a gripping melody; the kind that leaves an indelible imprint on the memory. Indicative of the attention to detail that went into the recording of "Return to Abandoned" are, for example, the classy acoustic playing heard during 10-minute opus "The Sea Burns of Omnipotence" and '70s-sounding organ (think Hammond B3) heard during "The Fog (…and Grief still Moans)". And the more one listens, the deeper the experience goes, and the more previously unnoticed tracks become newly discovered gems.

One gets the impression that the members of KHORS were driven by forces beyond their control and were unable to alter or impede the writing process until said forces decided the album was complete. Why can't black metal be progressive and aggressive without leaving song centrality in the dust? You've got your answer with "Return to Abandoned".