Рецензии
Archaic "Return To Abandoned"
2010.12.25
KHORS (UKR)
RETURN TO ABANDONED Paragon Records
Written by Mystery Flame on Saturday 25 December, 2010. Last updated on Saturday 25 December, 2010
Oh come on Khors, just as I thought my 2010 Top 20 Album list* was safe and sound like a fortress from any further attack, in you come gun blazing with a brilliant mid-December release! But you might just be forgiven, as I feel this work will be one of my soundtracks of this freezing cold winter…
Very rarely you absolutely love something over the first minute into the opening track, and the Ukrainian’s new album did just that. There are several striking factors that made me fall head first for this album.
First of all, the entirely masculine kind of metal that forms the solid foundations of Khors’ magnificent pagan black castle makes a welcome change in a year dominated by “post” releases. Fistfuls of top quality heavy metal riffs and solos remind us that the primordial “male” element cannot be snuffed out of metal elevate the album to epic heights with mesmerizing effect (“Mysteries Cosmos”). Mind you, this is not the impression you get from the opening notes: it’s the retro grandness of prog rock that welcomes the listener into the album! Generous doses of eerie Theremin-sounding keyboards (courtesy of Saturious of Nokturnal Mortum) not only provide the tightly interwoven threads of a flamboyant mediaeval tapestry led by breathlessly persistent drumming, but mutate into chokingly beautiful solos in their own rights. Like in the outstanding, epic “Asgard’s Shining”, a track that maps the mutations of black metal from burning coal into a multifaceted gem, or in the folksy/melodic “Song of the Void”. This mood informs the entire album and works brilliantly because it’s not one bit half-hearted. “The Fog (…and grief still moans)” is another example of how metal and progressive rock can find incredible paths when merged together in such daring fashion: here we have interludes of a 60s-sounding organ which are absolutely brilliant! Perhaps a blasphemy to the orthodox black metaller, but it is an exciting and welcome surprise for those who appreciate a more audacious approach.
The album, sustained by superbly pounding drumming and enhanced by crystal clear production, never loses momentum, offering new flavors at each listen. Make no mistake, Ukrainian metal has grown to be unique and of tremendously good quality, and Khors are a great band in their own rights. The two recent re-releases of old material testify that, reminding us of how forward-thinking they have been through the years under the helm of Helg. Now that he has left, replaced by Jurgis, hopefully we still have a confident, genuine and inspired band which — like the seas — just burns with potential for more omnipotent releases.
My 2010 Top Album
RETURN TO ABANDONED Paragon Records
Written by Mystery Flame on Saturday 25 December, 2010. Last updated on Saturday 25 December, 2010
Oh come on Khors, just as I thought my 2010 Top 20 Album list* was safe and sound like a fortress from any further attack, in you come gun blazing with a brilliant mid-December release! But you might just be forgiven, as I feel this work will be one of my soundtracks of this freezing cold winter…
Very rarely you absolutely love something over the first minute into the opening track, and the Ukrainian’s new album did just that. There are several striking factors that made me fall head first for this album.
First of all, the entirely masculine kind of metal that forms the solid foundations of Khors’ magnificent pagan black castle makes a welcome change in a year dominated by “post” releases. Fistfuls of top quality heavy metal riffs and solos remind us that the primordial “male” element cannot be snuffed out of metal elevate the album to epic heights with mesmerizing effect (“Mysteries Cosmos”). Mind you, this is not the impression you get from the opening notes: it’s the retro grandness of prog rock that welcomes the listener into the album! Generous doses of eerie Theremin-sounding keyboards (courtesy of Saturious of Nokturnal Mortum) not only provide the tightly interwoven threads of a flamboyant mediaeval tapestry led by breathlessly persistent drumming, but mutate into chokingly beautiful solos in their own rights. Like in the outstanding, epic “Asgard’s Shining”, a track that maps the mutations of black metal from burning coal into a multifaceted gem, or in the folksy/melodic “Song of the Void”. This mood informs the entire album and works brilliantly because it’s not one bit half-hearted. “The Fog (…and grief still moans)” is another example of how metal and progressive rock can find incredible paths when merged together in such daring fashion: here we have interludes of a 60s-sounding organ which are absolutely brilliant! Perhaps a blasphemy to the orthodox black metaller, but it is an exciting and welcome surprise for those who appreciate a more audacious approach.
The album, sustained by superbly pounding drumming and enhanced by crystal clear production, never loses momentum, offering new flavors at each listen. Make no mistake, Ukrainian metal has grown to be unique and of tremendously good quality, and Khors are a great band in their own rights. The two recent re-releases of old material testify that, reminding us of how forward-thinking they have been through the years under the helm of Helg. Now that he has left, replaced by Jurgis, hopefully we still have a confident, genuine and inspired band which — like the seas — just burns with potential for more omnipotent releases.
My 2010 Top Album