Return to Abandoned

I feel like there must be a 'Berlin Wall' that never really collapsed when black metal was on the rise back in the 1980s and even decades later. For example, how many black metal bands from eastern Europe are considered monumental to black metal's insurrection compared to the many antagonists that emerged from Scandinavia? I can name Tormentor, Graveland...maybe Behemoth, but that's a debatable answer. Granted the most recognizable bands cover only a shade of black metal's moon, and how these regions were somehow overshadowed serves testament to the myopia of geographical bias. After all, there are more worlds than we can fathom within our own.

Khors, for instance, has never been brought up in any discussion regarding black metal that I can recall. The direction the band takes throughout "Return to Abandoned" resembles a unique compound of black metal entwining blissfully into the threads of 70s prog, psychedelia, and folk music via prominent keyboards, dazzling synthesizers, and jam-oriented textures that are key to capturing Khors' astral atmosphere. This direction isn't dashingly original, but Khors manufactures its outside influences without having atypical sources derail the band's intentions, unlike Nachtmystium did throughout "Addicts" in which psychedelia and industrial were the focal points. There's thankfully none of that nonsense here.

Khors instead prefer sticking to a somber black metal basin that is highly reliant on rich tremolo riffs and basic qualities found in the genre instead of drowning in various identities, which, oddly enough, actually makes room for more experimental thoughts. "Lost Threads" and "Asgard's Shining" are two of the most straight-forward songs on the album with both being driven heavily by melodic tremolo picking, heavy mid-paced sections, rocketing double-bass, and blast beats during the later track. Few things remain constant from this point on, as Khors adds an intricate amount of individualistic color to the remaining tracks; some focus on jamming acoustics, others sublime keys, and perhaps Pink Floyd worship here and there, but the metallic edge is never lost. It's nice to see a band that has no fear experimenting, but even better when there's a sense of self-control and consciousness.

More importantly, the dudes of Khors possess an enormous ability to compose otherworldly anthems. The sheer amount of atmosphere and might loaded in each track makes every song a standout in its own right, whether it's the electric keyboards throughout "Mysteries Cosmos" or the rockish riffing that makes "The Fog (...And Grief Still Moans)" a massive headbanger that still incorporates prog elements and acoustic interludes despite its grooving textures. The album's highlight surfaces during the ten-minute epic "The Seas Burn of Omnipotence," which sways and turns so magically it almost seems like Pink Floyd wrote it as a b-side that was somehow shipped to Ukraine and found by these blackened bards; it's overall an amazing tune.

So being that this is my first exposure to Khors, I must say I am deeply impressed by both their musical endeavors and instrumental bravery throughout "Return to Abandoned." The sense of clarity enchanting the album's bones makes for an intriguing listen exploiting a number of different dimensions, yet Khors can execute these risky maneuvers through the encompassing presence of black metal that defines the group's essence and reality. I'm not sure why these guys are overshadowed, but whatever the reason, definitely look into this. Hell, I may have to visit Ukraine if the black metal bands out there are half this good!

This review was written for: www.Thrashpit.com