Band:	Keor
Album:	Petrichor
Style:	Progressive metal
Release date:	December 2018

01. Petrichor
02. The Nest Of Evil
03. Snivel By The Pond
04. Terence
05. Abyssal Bloom

It often happens that one has a falling-out with different genres, because you listen to it so much that everything starts to sound like something you've heard before, even though you really don't feel this for any other genres that could be just as generic and rehashing. I had this kind of falling-out with prog music. But then there's that one album that just blows you away and drags you back in. This is Keor's Petrichor.

I'm sure that if any of you are familiar with this record, it is for the same reason. It made a bit of a spam-y set of rounds on some prog groups on Facebook where a few folks decided to counter the really done-to-death Opeth memes by shilling really hard for some underground release. Now this can, of course, put some people off, for marketing like this can be quite aggressive (nobody likes seeing that shitty local band all over your social media), but I'm sure mostly nobody would have given this album a shot on its quality alone. What made Keor special is that the hype was worth it.

Most prog one-man bands are usually more in the guitar-driven, djentier sounds; meanwhile, Keor is somewhat closer to the darker and more acoustic-focused sides of 2000s prog bands like Opeth, Riverside, and (most of all) Steven Wilson, mixed with a slight dash of Kayo Dot for good measure. With it being also self-produced, some of the production is a bit rough around the edges, but no so much to take out the charm that this album has. While its production flaws have become more apparent on further listens, it still barely does anything to break the incredible immersion that this album provides. Despite it wearing its influences on its sleeve, it's quite clear to hear the unadulterated passion that a band already on its Xth album may have lost a bit of.

I could go into detail about how close it sounds to some of those previously mentioned, but somehow it doesn't feel all that much like a rehash because of how well executed it is. It's quite amazing to hear this pulled off by one person, albeit with a few guests on some of the tracks. With the album divided into four songs, out of which only one is slightly shorter than 8 minutes, it's quite clear that Keor focused more on the larger-scale songwriting and mood-building than the simple complex-structured riff and odd time signatures. Most of the album is indeed quite restrained and acoustic, but the impact and the blending of the dark and the light atmospheres are immense.

With all its flaws, Keor is so much more than just potential to be great in the future, though there's that as well. Everything about this album amazes me. And to tie it back to my introductory point, it reminded me of everything I loved about modern prog music and what it could be. And all of this is for name-your-price on Bandcamp.

Note: This has been yours truly's 100th review. Also likely the last one before Christmas so Happy Holidays to our readers.