Khors – Cold

KhorsColdFrontCover

Khors is a Ukrainian black metal band formed in 2004. Coming from the same general scene as Drudkh and Nokturnal Mortum, Khors’ brand of black metal is made by mostly simple riffs and long, simple and slow melodies.  These are all very typical of the Slavic black metal sound. Accessible to the novice listener of black metal, Khors offers an experience that lies closer to what purists would consider closer to black metal than most mainstream acts rising the flag of the genre despite the real nature of their music

Cold consists mostly of simple guitar strumming outlining singable melodies with constant rock-like drums that use the double bass intermittently. The music relies on heavy repetition with very little changes. This is compensated by the tightening and releasing the drums provide through the simple effect of using and not using double bass drums. Particularly understated keyboards provide the spacious backdrop in which ghastly vocals carefully make sparing apparitions.

Production in this reissue of the album is stellar, outshining that of releases by countrymen Nokturnal Mortum. The rock-oriented sensibilities of this Ukranian black metal could tick off purist fans of the more extreme expressions of black metal, but Cold remains a black metal album at its center. Content-wise representing little more than a mouthful for the experienced listener, this is a perfect release for those starting out with the genre. Strongly recommended as an authentic gateway album.

Coffins / Noothgrush – Split

coffins-noothgrush-split2013 has been a big year for Coffins, with the release of their debut album The Fleshland for Relapse Records in July and the recent announcement of their upcoming appearance at Baltimore’s Maryland Deathfest in 2014. Coffins toured with Noothgrush in 2013 in Japan, thus it is not surprising that the two, who have gifted each other with fresh ideas, have decided to release a split EP on Southern Lord Records.

While Coffins have always had their fair share of sludge influence, the band up the ante by incorporating more stoner rock riffing and melody. The result is slower and stripped down, with less of an Autopsy and more inspiration from Eyehategod. The band still retain their core sound with mid-paced riffing hybridizing Coffins’ downpicked death metal chug and Noothgrush’s crawling musical ethic. Lead work, although sparse, brings a brightly colored spark. The drums straddle the line between D-beat infused percussion in the style of Deathstrike and the breakdowns that are archetypal to the sludge hybrid-genre. Inflected riffing pounds through both tracks in the stoner metal style, inserting absurd jauntiness into droning music.

Noothgrush on their half of the split apply characteristic sludge riffing accompanied by sample-infused soundscapes which provide abstract narratives pertaining to the song titles. The material retains an earthy, doomy sound without digitised production artifacts. “Jundland Wastes” samples the kick drum from “Tusken Raiders” amidst desert winds, reminiscent of the tripped out atmospherics of “Dystopia” but with a more concrete narrative function. “Thoth” follows in very much the same footsteps, with a sample-driven interlude halfway through — complete with layers of ear-piercing feedback and tasteful synth pads — provides a welcome break from the crushing, monolithic riffing.

Whilst Noothgrush ominously work their trademark, sample inflected sludge machine, Coffins’ foray into the sludgier side of the doom-influenced musical spectrum is somewhat generic; it feels lacklustre in comparison to Noothgrush’s experienced assault. Where Noothgrush manage to keep things interesting, if a bit mundane, Coffins’ offering for this split EP feels rushed and uninspired.