Some of the best creative works are those where care is put into the details without drawing too much attention to the effort involved. Such is the case with French black metal band ACOD’s sixth album, “Versets Noirs.” It’s an odyssey rather than just a good listen, with plenty of subtle and not-so-subtle surprises along the way. Per the band, the album tells a tale: “Hidden from everyone, a sorority of witches needs to find the chosen one in the afterlife. Now the day is slowly ending and the night will fall on humanity. They found him, but only one can change the course of history. Burdened with fear, borrowed from melancholy and Mediterranean melodies, your soul will travel to the heart of different eras, constantly crossing the path of witches.”

Our voyage begins with the symphonic notes and eerie vocals that herald the twenty-minute-long “Habentis Maleficia.” It’s bold to open with such a hefty song but this one keeps the listener engaged with expansive, smoldering guitars, spoken word invocations, subtle backing vocals, and just the right amount of orchestration. This track is a journey, not a sprint, and it takes its time building a truly occult atmosphere that brings to mind full moons and ceremonial fires. Fans of ROTTING CHRIST will be especially impressed by “The Son of a God (The Heir of Divine Blood)”, which makes the most of its comparatively-short five minute run with classic, hair-raising.black metal riffs and snarling vocals. This standout track is melodic and borders on catchy at times; the main riff is wildly headbangable and the repeating vocals toward the end demand your undivided attention. Meanwhile, “A Thousand Lives in a Second” is nothing more or less than a solid melodic black metal tune; it doesn’t take much time with formalities, although it does contain some strings and spooky synth. Its strength is in its straightforwardness.

Despite its slow, ominous intro, “May This World Burn” is fast-paced and aggressive, featuring blistering drums, galloping guitars, and ever more insistent narrative samples. It fades out as chillingly as it enters, leaving us with the shortest track of the album, a cover of Samael’s “Black Trip.” This version is full, bombastic and even somewhat groovy. It’s exactly what you’d hope for in a cover, recognizable but distinct, paying tribute but taking up its own space and asserting its own identity. 

Overall this is a truly impressive offering. Throughout, I’m reminded of ABIGAIL WILLIAMS’ “Becoming” in that the symphonic elements serve to complement the guitars, bass, and drums rather than overshadow or outshine them. The spoken word sections are well-placed and serve the album’s overall unearthly mood. The guitar tone throughout is incredible, from sizzling chords to blazing riffs. ACOD’s real talent is how adept they are at using all the tools and techniques at their disposal to build an immersive experience without laying anything on too thick, crafting an album that is accessible yet never dull.