Preposterous as the concept of "commercial" black metal may seem, Norway's
Keep of Kalessin
have come to epitomize just that, as they've steadily discarded their more savage tendencies on each sequential release leading up to their fourth full album, 2008's
Kolossus
. Even more so than its already quite refined predecessor,
Armada
,
is characterized by crystal clear production, aggressive but disciplined performances, and unflinching (if hardly outlandish) stylistic deviation from the genre's more conservative trappings -- all this without mentioning the quartet's corpse-makeup-free, Elven good looks. Oops, we mentioned it. Anyway, since
KoK
was never the most stable of bands, it's also notable that ever-present guitarist
Obsidian Claw
finally managed to retain the same lineup for the three-year span between these two albums, and the fluidity of
' material shows they've really had a chance to gel as a recording unit because of it. This material ranges in length and variety to take in both straightforward numbers like
"A New Empire's Birth"
and
"Ascendant,"
and elaborate excursions into compound moods and tempos like
"Against the Gods"
"Escape the Union."
Yet all of them invariably find a great balance between wholesale riff mongering and melodic sensibilities of the highest order, whether flirting with
Darkthrone
or
Satyricon
's back-to-basics approach on the rock-infused
"Warmonger,"
or encroaching upon the synth-enhanced realms of
Dimmu Borgir
Cradle of Filth
on the gothic
"The Mark of Power."
Obsidian
also hoists his acoustic guitar with confidence and authority on several tunes, including mold-breaking opener
"Origin"
and the, erm, "kolossal" title track's Spanish-flavored midsection. Then he mixes it with some impressive piano playing for
"The Rising Sign,"
which, ironically, only threatens to implode during its frenzied, blastbeat sections -- not the softer parts. For his part, vocalist
Thebon
draws the line at venturing into outright clean-singing territory (although he'll probably try that next!) by retaining his rasps at all times here; but he shows no qualms about alternating his typically hoarse black metal vocals with portions of quasi-hardcore shouting, and deeper death metal growls -- surely opening the dungeon doors for some amount of intra-genre bickering. All of it pointless and counter-productive, of course, given all of the creative back-and-forth -- most of it refreshing -- between these long-standing bastions of musical extremity. And even though a few detractors would certainly cite such matters as further proof of
's betrayal of black metal's true kvult traditions, most unbiased listeners simply looking for good music will surely be impressed with what is arguably the band's best album yet. ~ Eduardo Rivadavia