COUNTESS — The Return of the Horned One (review)

COUNTESS — The Return of the Horned One album cover Album · 1994 · Black Metal Buy this album from MMA partners
3/5 ·
Vehemency
In some respect, The Return of the Horned One is an improvement from the debut album - at least when it comes to production and overall execution. The sound is still messy but this time the instruments are more in balance. This is also the first album where Countess utilizes programmed drums, which has now become a standard element in his music. And I don’t even despise them, because they actually fit into the hissing and scruffy atmosphere, just the way Evil used programmed drums in the 90s too.

Compositionally, The Return of the Horned One is quite close to its predecessor, but this time the music is more listenable. Surely the album still lacks power: for example, some palm-muted riffs in ”Fire and Blood” are on the verge of a joke. Also, the guitar riffs are sometimes totally out of place in respect of the drums (”The Wolf Cries Evil”, for example). I wouldn’t call this whole sloppiness a totally welcome feature, but somehow I don’t mind it that much because I focus on the atmosphere, which, in turn, is good with its mysterious aura.

Highlights of The Return... include ”Ritual of the 7 Priests”, the majestic ”Deisidaimonia” and the album ending song, sung in Dutch, ”Bloed In De Sneeuw” which, with its acoustic guitars, gives me vibes from the early Carpathian Forest material (Journey Through the Cold Moors of Svarttjern). And why not to mention the short interlude with clean vocals, ”Since Man Has Wielded Swords”. This second album had potential to be better than its predecessor, but it simply doesn’t have enough strong material, except the previously mentioned songs. Thus I would say that The Legion... and The Return... are actually on the same line.
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