Oh Hellenic black metal, how I dig thee. It’s criminal how overlooked this scene was 30+ years ago in comparison to its much more sensationalized, tabloid-worthy Norwegian counterpart. Sure, the Norwegians had the arson, murder, and corpsepaint, but the Greeks arguably had far much more to offer musically. Whereas the Scandinavian crop largely followed the orthodox formula of blast beats, tremolo riffing, and harsh screaming vocals established by Mayhem, the Greeks dazzled metalheads with atmospheric keys, doomy riffs, and the dark mysticism of ’80s icons like Mercyful Fate and Death SS. Put all these ingredients together and you’ve got quite a diabolical brew of black metal magick.
One such band who emerged from this scene was Kawir. Formed in 1993 by multi-instrumentalist Therthonax, the band’s incorporation of folksy passages and ritualistic lyricism made them pioneers of the ultra-niche pagan metal movement. Throughout the decades, only Therthonax has remained, employing a revolving door of underground black metal musicians to bring his unholy vision to life. Matter of fact, 2023 saw the introduction of a new bassist (Epameinondas), drummer (Agisilaos), guitarist (Iasron), and keyboardist (Dis Pater), all of whom are featured on the band’s latest album, Kydoimos.
Now I haven’t dived the deepest into Kawir’s later work post-Isotheos (2012), but one thing’s for certain: This latest album, Kydoimos, lies a lot closer to modern black metal than the raw aggression of yesteryear. One can’t deny the Behemoth-esque musical delivery, composition, and production of the opening “Teiresias”. Admittedly, the overall vibe is much more in line with that of Kawir’s mother scene than Poland’s resident edgelords, but the comparison is undeniable. I was hoping this would be a one off, but upon being battered by the likes of “Myrmidons”, “Achilles & Hector”, and the title track, it became apparent that my hopes were merely that: hopes.
This isn’t to say Kydoimos is without its redeeming moments. “Achilles Funeral” and the closing “War is the Father of All” nail that ’90s Hellenic black metal spirit with their doomy hypnotic riffs and haunting keys. “Fields of Flegra” confuses with its unpredictable twists and turns, kicking the listener in the teeth with blackened schizophrenia, and “Hecatonchires” even borders on epic Bathory in terms of riffage and arrangement. However, these flashes of black metal adventurism are unfortunately overshadowed by a glut of songs that are largely one note in writing, delivery, production, and nature.
One can say Kawir at their most generic are still more fulfilling than your average, run of the mill, Mayhem worship band that’s currently polluting Bandcamp and dying for entry to the Metal Archives. And you know what? I don’t disagree at all. To their credit, Kawir, or specifically Therthonax, fully believes in what they/he do/does. I just find myself underwhelmed by this latest offering, wishing for more of the pagan charm that made this band so, for a lack of better terminology, “kvlt”. Perhaps this new lineup has some settling in to do? Until then, we’ll patiently await Kawir’s next musical ritual.
6 out of 10
Label: Soulseller Records
Genre: Black Metal
For fans of: Varathron, Macabre Omen, Behemoth
Leave a Reply