Over the roar of voices, a soothing breath calms the minds that cannot sleep. Hailing from France, ABDUCTION's latest release entitled, "Jehanne" is one that inspires beauty. The band formed in 2006, with this recent album being their third full-length album. The tracks are quite unusual as they often seem as though there are more than one song in one track. The listeners are jerked back and forth from folk acoustics and pleasant voices, to harsher guitars and a black metal focus. There is rarely fade in the transitions; the song just starts and stops as it moves-which is something should have been tended to. It is unique, but after half of the album is finished, in the last half, one can predict the format. Through this journey, one should picture the ancient melancholy of France's classical, romantic countryside. Stone creations withered by the wind, long grass rolling like water in the summer sun, and animals lurking about. There is a sort of beauty to this album, if moved beyond the technical, one will find the tranquility.

"Aux Loges Les Dames" begins the beloved day with stars over a midnight's moon. Synths overlap the sound of rushing water, and ancestral drums pound like footsteps on a metal surface. The guitars remain simple. It is an old folk tale of glistening jewels, with an ancient, romantic style to its build. It begins very high, but it is brought down low as it develops into a more metal style. The double kick sets in, and there is a man screaming, the notes circling above him like crows. Pitch changes abruptly, and WINDIR-like vocals and styles set the premises of what is, and what shall be. Synth pianos and concordant guitars follow the rhythm and the fast drums.

"Par Ce Cœur Les Lys Fleurissent" features melancholy synths droning in the backdrop, and rapid drums, while a man screams overtop. A woman then joins his hand in a serene song. Guitars harmonize with their notes, and with a folk dance the music swims through the air. Suddenly, the ambiance halts, and there is a complete change of scenery. The darkness dissipates and shifts to an acoustical creation. Charming and elegant guitars play on and airy voices swallow the sounds. There is a chorus of sounds, and an echo of murmurs. Drums patter softly like rain before returning to a heavier atmosphere. The melody shifts quite a few more times, with additions of tremolo picking and trumpet-like synths. A man sings, and a woman follows. "La Chevauchée De La Loire" resembles more Viking undertones. There is a sort of rawness in the tune, and the bass moves harshly around. Drums are quickened, and high pitched notes tower over the gloom. A woman's voice appears, and a woven basket of noise encumbers the sounds of the background. There is a change of melodies, similar to the previous tracks, with this shift to a simpler pace with synths. For a split second, the woman's voice becomes prominent before disappearing once again. Tunes change once more. It is church-like, and returns to the more romantic format it once had. It is beautiful in its folksiness, with memorable melodies.

"Dieu En Soit Garde" embarks on the differentiation that will make the previous tracks more distinguished then the others. The bass overthrows the piece in its harmonies. Sounds flow over like layers and there is solemn singing. It adds to the melodious beauty, but returns to the bass beginning. The song moves like seashells captured by the waves, moving down the sand as the day passes. "Foi En Ses Murs Jusqu'aux Rats" similarly changes ideas  throughout the track. It starts with a high pitched guitar; acoustic, and quiescent. It almost is like an old classical song, applied to more modern times. The track then moves towards metal styles with shifting riffs and slight screams to silence thoughts. "Battue ParLles Flots Jamais Ne Somber" makes for an acoustical atmosphere that is similar to the previous track. There is a slight and unusual echo that never stays put in one place. Tremolo picking guides parts of the track. There is another breakdown, and solemn vocals surround the ideas. A voice talks, yet screams, the emotions not fully represented.

"Très Fidèle Au Roi Et Au Trône" also starts acoustically, making me long for something that I do not predict the structure. It is quite folky, but it is not extremely unique. It returns slightly to its romantic scenery, but then moves to its quickened tremolo picking and dimmer patterns that resolve the ethereal and picturesque view. "Aux Marches De Lorraine" ends the marvelous tale in familiar patterns and sounds. Yet, this is more acoustic. Ideas blend, and are malleable. Sounds are given more clarity and direction, before changing to another place. Tremolo picking is in the background with few bass notes and blurred drums. A scream is introduced. The song finishes its final victory with violin-like synth sounds before the track ends in tranquility.

ABDUCTION's "Jehanne" is a journey through many different layers of folky and atmospheric ideas. Tracks seem as if they have more than songs within them, formulating a diverse ambiance of folk acoustics and black metal. Although it was executed wonderfully in itself, the second half of the album felt as if sounds were repeated and the patterns could be predicted. Nevertheless, the album is alluringly fictitious, and its exquisiteness takes the listener through unchartered territories.