Metal maniacs, rejoice! I am proud to present to you: KHÔRA; signed via Soulseller Records, hailing from the glory of Germany - performing Atmospheric Black Metal, on their debut album entitled: "Timaeus" (released April 17th, 2020).

Since formation in 2013; the trio in question have a Demo entitled: "Málenkiji Robot" (released July 17th, 2016), and this here debut album entitled: "Timaeus". 11 tracks ranging at around 40:28; KHÔRA arrange an intricately designed formula of heavy-hitting Atmospheric Black Metal developments. The other worldly but deranged introduction "Aether" begins the record; showcasing ritualistic soundscapes of keyboardist Erlend Antonsen who implements ambient static of outer space vibes, transistioned with merged realms of haunting dissonance & disturbing landscapes of dreary eerieness. As if human affairs were watched through the timeless void of space with weird alien beings, ready to unleash an attack upon the Earth. Basing their theme on the philosophic modernization not just of the alien lore, yet more of the envision of creation of this universe as we know it - a mesmerizing subject to tackle matching this interesting basis of majesty and cosmically chaotic intervention.

Marching onto the meat of the record: "Noceo" opens up with a solid slab of monstrously progressive technicalities; featuring a guest vocalist Arnhwald who amalgamates his blood-curdling cords with throaty raspiness, shouty snarls & chanting fused gnarly growls. Consisting of masterind frontman: Oleg on guitars/drums/keyboards/backing vocals, who rivets into a blistering barraged frenzy of amplified extremity & bludgeoning complexities. Bridging a gap between keys played slightly discreetly; it could come across as a harp elementation, a little barogue but effective nontheless. While transfixed with momentously primitive trailblazing. Think of rapidly swift shards, smacking you with nimble velocity. Then we have a clear chorus vocal section in "l'Annihilateur" with help from Frédéric A. Gervais; his lungs demonstrate a concrete dose of operatic savagery, while the riffing yet quaking instrumentation conveys an enriching embellishment of experimental wildness, organic substance & boistrously bouncy snappiness.

"Harvesting Stars" harnesses innovative soars while assembling tight precision; quintessential virtuosity, rawly rough rampency & a fluidly polished melody that surges with rip-roaring roars while impressively culminating electronic ambiency into immersively detailed harmonies excelling an outrè panache of uniquely versatile vehemence & sonically seamless dexterity. Chugging into distinctively distinguished alignment of tense foundations, borderline frolicking and groovy executions forge a frantic craftsmanship of punchy variety & volatile stability. "De Vetus Ad Novum" powers down into a deliciously doomy fabrication of Black Metal mayhem, manifesting meticulously tribal melodies until it feels like a cold fog of misty moods that draws into your soul. Henri Sorvali performs on this scale with outrageously splendid sophistication, and deadly finesse...captivating one with utmost vanity.

"Roe Too Noo (Flow Of The Mind)" is a foray of bizarre but enlightening distortion; diligently establishing a vibrantly skyrocketing quirkiness of maelstrom robustness, profusely persisting with striking perseverence & salubriously rambunctious drum hammering dynamics pummel with pounding triggering. Johan Havås also on keys orchestrates a hybrid dimension of weighty remedies, sulphurous subjugation & mellifluously euphonic havoc of demonizing ghastliness. Kranos also on vocals pumps out pipes that yell with wicked shreiking while revolved around a lacerating lyrical scream of remorseless portrayal. "Sempiternal" rumbles with ruthless pandemonium, evolving blackened hymns that ranch with wonderously ponderous styles & razor-sharp sublimity while remaining utterly sinister in the mean time - notably the stampeding rampages that nail it with killer jumpiness.

"Existence" examines an exemplifying amount of consistently flamboyant exhuberence; expertly distributing poignant keys from A. Simonen, and a gripping hook of a solo from James Benson - who rips with relentless fortitute, and brutally harsh barks from Vicotnik unites this vast supergroup with breathtaking calamity. "The Purge" welcomes another guitar solo strummer from Syndrone; integrating a chunky fretwork of piledriving tempos overarching an impressive blend of dreariness and hostility. Audible bassist Lars injects infectiously engaging gallops, thumping with trippy scatterings that smother the eardrums into a pulsating mass of noisy terror. Boeddelen on additional vocals revels with more malicious rage; providing a chunky but crisp flow of patterns that provide slick yet jarring cacaphony, contrasting innovative visionaries that supply rewardingly imaginative firepower & songwriting musicianship - shining with memorable results - B.R also attributes an adroitly coherent amount of aggressively agonozing vocals.

The penultimate track: "The Occultation Of Time" thrives through with wildly rushing madness; converging conceptual grounds of hallowed eclipse, celestial obscurity & rollicking twin-twisting attacks that bulldoze like a grandiose grandure of bombarding blitz which oozes out machine gun blasts while shotgunning with uzing speed - maximizing unprecedented variations between blackened atmosphere & thrashing sound production magnetism. Overall concluding "Timaeus" with the powerful acoustic finisher: "Void"; a mystical song that ends it all in fashionable brilliance, I am compelled to say that KHÔRA certainly delivered a thunderously punishing but groove-bombingly aerospheric performance with prodegiously synergetic epicness. They outdone themselves indefinitely for a debut, as it continuously screams to you with potentially talented malevolence yet still intrigues an exciting amount of lore that will get your heads banging and thoughts racing in no time. The replay value is definitely timeless too - a distracting and awesome discovery indeed! Check it out.