If you’re familiar with the original version released by Paragon Records in 2008, the first difference you’ll notice is the cover art. The original wasn’t necessarily bad, but this new one conveys a much more appropriately epic feeling with the giant eagle emerging from dark storm clouds over ancient ruins. Although, the symbology at work could be unfavorably construed given the context. I would love to comment on the rest of the 6-panel digipack, but I only have a digital copy.

As for the music itself, this is Khors at their most atmospheric and subdued, but don’t misunderstand that as a weakness. Even though 2010’s Return to Abandoned reintroduced some of their early aggression into the ideas explored here to make an even more potent sound, this is still a great album in its own right. Anyone who was into what Century Media was releasing in the mid ‘90s will especially love it, as the aura, attitude, flow, and pacing all closely resemble the output around that time from Samael, Rotting Christ, and most of all, Moonspell. Basically, if you remove most of the goth leanings from Wolfheart, you have the recipe for Mysticism. The mystical, woodsy atmosphere, gritty guitars, and sturdy, tempered rhythms are very similar. I hate to make such a simple, direct comparison, but I think it’s a flattering one. This consistent, even balance of strength and melancholy is hard to come by. Yet, even with all its similarities to the early works of that certain Portuguese band, there’s still something distinctly Ukrainian about it. It’s a mysterious quality that I can’t quite put my finger on; I just know that I also hear it in fellow countrymen Kroda, Nokturnal Mortum, and Drudkh.

The vocals of Helg have a harsh, menacing tone much like Sakis of Rotting Christ at his best and all instrumentation — both metallic or otherwise — is masterfully performed. The passion these guys must have for their craft is palpable. Unlike their other albums, the pace here never gets above a mid-paced gallop, but there’s nary a dull, sluggish moment as almost every song is brimming with creative drum fills, emotive solos, and lush ambient instrumentation. The only exceptions are the keyboard/drum/whisper-filled “Milk of Heavens” and acoustic instrumental “Pagan Scars,” which are the only low points, but they’re by no means terrible. If the album had a hit single, it would most definitely be the entirely clean-crooned (courtesy of Mental Home vocalist Mikhail “Maiden” Smirnov) “Red Mirrors,” which comes off like a stirring mix of Amorphis, Root, and the aforementioned Moonspell-isms. They’ve never done anything like it before or since, which is a little disappointing since they do it so well.

In an age when most atmospheric metal bands seem to share the belief that longer equals better, Khors smartly keep their recordings concise. All five of their albums have exactly eight tracks with a total runtime that’s right around the 40-minute sweet spot (not too long, not too short). Svarga Music messed that up a little here by tacking on demo versions of “In the Cold Embrace of Mist,” “Through the Rays of Fading Moon,” and “Raven’s Dance.” Rougher versions of album tracks don’t do anything for me, but they’re easily ignored and maybe some completists out there will appreciate them. At least the album was spared the often unnecessary remaster treatment that many reissues go through. The original sounded great — clear, rich, and meaty — and so does this.

I can’t really recommend this reissue to anyone who already has the original pressing unless they want the new artwork and demo tracks. But, for anyone who appreciates this style and missed out on Mysticism the first time around, I can’t recommend it enough.

Eastern Europe has produced some excellent pagan black metal bands over the last decade or more, the most well-known being Drudkh, Negura Bunget and Nokturnal Mortum. Yet there are undoubtedly dozens of other quality, uniquely Eastern acts still sheltered by those untravelled hills and forests. Ukraine’s Khors is one of those treasures.

Wisdom of Centuries is their fifth full-length in 7 years, and a very worthy discovery if you’re a fan of the aforementioned acts (in fact, the band features two members from Astrofaes and Hate Forest, which are tangentially tied to Drudkh). Khors’ sound is also rich in rustic tone and melancholy, but rather than crafting their songs from a skeletal jangle of folky guitars and percussion, the band also blends in the dense and atmospheric sound of late 90s melodic black metal.

Mactatus, mid-career Gehenna and Daemonarch immediately came to mind as soon as the stately and somber “Black Forest’s Flaming Eyes’ got underway, although Khors uses the more naturalistic Eastern palette vs the heaving swells of gothic keyboards from bands of that time period. Yet for its 9-minute running time, this track doesn’t really seize the imagination until its final third, when chiming piano and tribal, pagan drumming join in to create an immersive atmosphere.

That’s the case for the album as a whole, which trudges along at a somber and midtempo pace, interspersing a handful of longish, oppressive songs like the title track (crushing guitars, skyward bellows, cawing ravens) with some short and spare instrumentals (the best being the pretty, mid-album lament of “Horizong Glassy”). The palette is there, but it’s not always used as effectively as it could have been, or with enough variety.

That does not apply, however, to “The Last Leaves,” which is the album’s far-and-away standout, and for me, one of the best atmospheric black metal tracks of the year. It succeeds more than its companions because of its varied structure and more insistent tempo; a minute in, it switches up to a swift gallop which reminds me of recent work by Agalloch or melodic death/doom acts like Rapture or Insomnium. It even brings in a ringing tremolo melody line, something missing from some of the other tracks on the album. If there’s such a thing as blissful black metal, this is it.

After listening to Wisdom of Centuries a few times, I did my homework and checked out some of the band’s earlier releases. Their previous record, Return to Abandoned,  has a similar sound, but a quicker overall gait and a more dynamic and generous use of keyboards and melody. I’ve been listening to that release more than this one, but just to put things in perspective, I still prefer both albums to much of Drudkh’s recent work (including this year’s Eternal Turn of the Wheel). That alone should be enough to get you hunting.

In case you need further background, Khors is the bassist from Astrofaes and this is his atmospheric black solo project. Slavonic atmospheric. I freely admit that I appreciated the black heart of Cold but listened to it even more minimally than I did its predecessor, The Flame of Eternity’s Decline, which had a warmer tone, harsher vocals and more focused compositions. So what has changed with Mysticism? Hold “Conscious Burning” up to the cold flame for scrutiny, to get the basic formula of the past efforts in you head and then you will find album three to be more personal and more mature, no surprise there. The melodic, symphonic core is more refined and not quite so Nokturnal Mortumish, i.e. not so folk driven, more classically symphonic. The slowness of the album works in its favor, the faster they get the lass interesting, but it does reinforce the black heart, which is a good pull away from the soundtrackish moments.

Overall Mysticism tones down the rage a few dozen notches. It also brings back simple melodic lines and the overall slow pace. The loud bass and the harsh voice remain. “Raven’s Dance” has some far reaching melodies, drums set a slow pace and never really deviate from the simple pattern. It is a satisfying song but it is missing vitality. The whispered vocals are a distraction. The next few tracks just blur by, very similar  and not very memorable. The next that stands out is “Pagan Scars,” which is quite nice, simple accompaniment, memorable leads. “Red Mirrors” closes out the album with clean singing that will never get Helg confused with Garm. Those vocals really kill the song for me, which is a shame because musically it  is a bit more somber and has a faster pace, which gives it a nice feel. In the end we are treated to another well produced symphonic folk black album that fails to extend itself out of the crowded field.

Formed by former Astrofaes bassist, Khorus, and later joined by Helg (Runes Of Dianecht) and Khaoth (Tessaract, ex-Astrofaes, ex-Hate Forest), Khors play Black Metal in the Ukrainian style, that combines a somber atmosphere together with rich melodies.

Since their formation, Khors have quickly garnered a reputation for their unforgettable live performances, playing alongside Obtest, Behemoth, Butterfly Temple, Bloodrain, and many more.

Khors have previously released two acclaimed albums on the Oriana label in addition to a live DVD. The band have recently completed work on their latest album entitled Mysticism, which is due out on deluxe digi-pack through Paragon Records later this year.

For more information on Khors, please visit:

http://www.myspace.com/khorspagan

http://www.khors.info