Autechre began their lifecycle inspired by Kraftwerk’s robot-pop composed of complex layers of simple motifs transformed into dialogues in which each layer of sound appeared to be communicating with each other, resulting in intricate music that often sounded emotionally distant yet alluring and rewarding. This approach has been refined through later work by removing the individuality of each motif, stripping it of meaning and self-purpose; and instead crafting living wholes out of simplistic cells. With the AE_LIVE release, Autechre present a novel concept that was originally released as a four-part series and since has been expanded to nine separate compositions averaging around an hour each. For the sake of sanity and brevity, this review will focus on the original four performances.
Each performance is procession of distinct tracks whose form and aesthetic are pre-composed. The basic structure and sonic palette unfold in a live setting through improvisation resulting in a collection of compositions which are distinct but unified. The thing-in-itself is inaccessible and can only be approached through a variety of perspectives. Autechre manifest the underlying urge of each track through indeterminate duration, rhythmic and harmonic variance. The compositions contain no narrative arcs which may frustrate the listener however life itself is equally devoid of historical arcs, shapes of time, purpose, and rationality. If we can abstract a theme out of each manifestation it is the inner and outer turmoil of living a human life. The subject-object relationship to this work is different between listeners, therefore the meaning of the art is subject to variety since we do not have access to the inner contents.
Man’s primal, aggressive, and marauding nature is the subject of this composition. This experience is the most immediate of the original four and simplest to grasp for those used to musical tour de force. Exuberant synth erupttions are followed by moments of hesitation through cascading bass creating an abstract representation of threat, uncertainty, and sudden response. The rhythms often invoke a steady elevated heartbeat over which sharp patterns clash and dissolve. Autechre explore their early dialectic style in the compositions coda but instead of a conversational tone, invoke a confrontational quality. Elements compete with one another, increasingly at odds and less integrated as the whole piece winds down into an uncertain and exhausted conclusion.
The most dance and groove oriented take is predominantly physical in nature. The focus is on the body and its motion. Autechre push the limits of danceable rhythm which in turn challenges the body to remain in step with the ever-shifting cadence of life.
The most sparse and introspective variation. Track transitions are less abrupt while the whole retains more interdependence than the other pieces fitting for a contemplative journey. Autechre sort their mental contents in a relaxed meter. However, the character of the patterns are no less tumultuous and bombastic than the others.
External and visceral. Washes of ambience linger in the background giving off an impression of a subject traversing a landscape. This contains the most abrupt and forced transitions. A lack of fluidity is reminiscent of the rush of chaotic and divided sensory imagery washes over listeners who find themselves in unfamiliar places, isolated, without familiarity or a rational center.
This interview was completed with Blender Jeremy Reeves, Adam O’Neill and Ted Swearingen.
Like many Hessians, I enjoy Nicotine, not only for its calming mental state but for its cognitive benefits. While I love cigarettes, snuff, chew, cigars and cigarillos, my ultimate love is the pipe: a method of absorbing Nicotine slowly, with maximum flavor, that rewards the contemplative mind.
Cornell & Diehl is releasing a new The Beast tobacco blend. Some have said this is just an extended April Fool’s joke. Is it for real? When does it come out?
The Beast is certainly for real, and will be C&D’s second Small Batch release. There will be 777 tins made, and the official retail release date is April 29th.
What will The Beast be like, and will it feature tribute to Crowley’s lore-famed mixture of rum-soaked Perique?
The Beast is quite powerful and very heavy, being mostly Perique, and the whole blend has been soaked in rum for 7 days. It is undeniably Crowley inspired, and that in and of itself is our tribute.
Have you ever smoked rum-soaked Perique straight and if so, what did you think of it? How will The Beast compare?
I have and honestly I rather enjoyed it. I actually smoke our long-cut Perique straight occasionally on my drive home. If you puff like a freight train, it will knock your socks off, but if you just keep it simmering, the depth of flavor is mesmerizing, and the nicotine is slow to come on and builds nicely.
The Beast is a powerhouse, but it is not straight Perique. I like to think that we have tamed the beast a bit.
How long does it take you guys to invent a new blend recipe? Is there a lot of trial and error? What’s the most fun part?
That all depends on the specific blend in question. I always make several versions of a blend and try different approaches or methods. Sometimes I get it in the first few tries, and sometimes it takes weeks or months of experimentation. There are two blends that I have been working on for about 6 months, and they are getting close to completion but still aren’t quite right.
In the case of The Beast, Ted Swearingen and I collaborated on the blending. We each came up with several recipes and then smoked through the lot together with Shane Ireland and Sykes Wilford. What a time that was! Four guys in a little room smoking seven different versions of this really heavy, rum-soaked Perique blend for about an hour. By the end of it, we all were glazed over, dazed, sweating, and dizzy!
With the new C&D “small batch” line, you’re trying something different. Is this a way for C&D to “test the waters” with new blends? About how much of each small batch do you initially produce?
Yes and no. I don’t necessarily think of Small Batch as a way to test the waters for large scale production, but rather a way for us to be creative and try new things without having to commit to a blend that may be too niche to produce on a more permanent basis.
The C&D line is quite large already, so this model gives us more freedom to try things that might be be difficult in regular production or to use special ingredients that are in limited supply. The possibilities are a lot more open in Small Batch, because we are only going to make the blend one time.
The first round of Small Batch was “Straight Up English,” and we did 400 tins. They all sold in two hours. There will be 777 tins of The Beast released. Next time? That’s anybody’s guess.
Did this approach grow out of a previous marketing strategy by C&D? It seems like you were very adventurous in putting a lot of blends out there and seeing what “stuck” with the audience. How do you know if a blend “sticks”?
That’s actually a remarkably pertinent question given that The Beast is coming out under our Small Batch label. Our main vision for this line was to be able to be more flexible and creative in the blending process without having to commit to production of a large run. In the case of Straight Up English, we’d received some particularly good bright Virginias from Canada and wanted to showcase the interplay between those leaves and Latakia. In the case of “The Beast,” we just wanted a chance to tinker with Crowley’s famous blend, which is an idea we’d always toyed with, but we could never do before now.
As for whether or not a blend “sticks,” we use a combination of feedback and sales. Some blends might not sell so well, but get a lot of positive feedback. In these cases, we’ll usually just scale back production and keep the blend around.
When your team designs a blend, how do you handle the balance between “I would like this” and “our customers would like this,” or are the two very similar?
My approach is to blend things that taste like I want them to and then to consider whether there is broader appeal by taking it around the office and getting feedback. With a quite diverse group of pipe smokers with varied style and taste preferences all in one building, this approach helps me to hone ideas, improve blends, and gain insight into what other members of the pipe smoking community might think of whatever the blend in question might be.
Did you read any Crowley, practice any rituals or listen to any occult-influenced tunes during the invention and production of the blend?
Ted has read quite a bit of Crowley’s work, including The Book of Law, The Book of Lies, The Book of Thoth, and Liber 777 — the title that inspired the number of tins for this blend.
There was not enough room in the production area to make a proper altar, and not enough time in the work day to draw a sigil, but I listen to a lot of occult inspired music of many different genres. Pentagram, Diecide, Asphyx, Possessed, the Devil’s Blood, Celtic Frost, Bathory, Diamanda Galas, Skip James, Iron Maiden, Axe, Black Widow, Sabbat, Black Sabbath all find their way into my regular listening rotation.
Why a tribute to Crowley? Will you be doing tributes to other “interesting” writers?
It seems that Crowley’s idea of smoking Perique soaked in rum in order to reach an altered state for the purpose of performing the dark arts has really resonated with a number of people in the pipe community, inspiring many to try it, and many more to talk about it with varying tones of trepidation, disgust, or fascination.
We wanted to do something that was evocative of Crowley’s mixture but would also be a little tamer and more interesting than just Perique and rum.
I can think of no other author who has inspired such an intriguing bit of pipe lore than Aleister Crowley. That said, you never know where our next inspiration might spring from.
I write for the net’s oldest underground metal site and our audience are rabid death metal fans. Do you all listen to any heavy metal or death metal over there, especially when mixing up Perique? Why should a death metal fan adopt the pipe?
That’s really cool to know! I will have to check out your site!
As I mentioned earlier, I do listen to a lot of metal, and old school death metal is some of my favorite music. Cancer, Disembowelment, Death, Slayer, Onslaught, Monstrosity, Exhorder, Goreguts, Cannibal Corpse, Pestilence…. not counting my physical collection, digitally I have over four months of music, and I’d guess that about 60% of that is metal of various styles (doom, thrash, death, tech, grind, classic, prog, shoegaze, etc.). A couple of the other guys here listen to metal as well.
I think that pipe smoking goes beautifully with classic doom like Candlemass or Solitude Aeturnus, or even the sludgy kind of stuff like Crowbar. I find that I have to concentrate a bit more on keeping my smoking cadence slow if I am jamming to something really speedy like Origin or Pig Destroyer.
How did you get into smoking pipes, blending and eventually working for an innovator like C&D?
Really, that all started in 2003, when I took a position as a sales clerk at a cigar shop in Chicago called Blue Havana. The owner of the shop rented a number of properties in the area, and as it turned out, one of his tenants was our shop’s Lane sales representative, Jeff. I smoked cigars and cigarettes at this point, but Jeff was a dedicated pipe smoker and gave me my first pipe, an old Stanwell sandblasted Billiard that was well smoked.
This pipe and Jeff’s careful tutelage really started my curiosity and interest in pipes and pipe smoking, but it wasn’t until I left that position in 2006 and went to work at Iwan Ries that pipes really clicked. I have always been an adventurous smoker, always looking to smoke something new, and Iwan Ries certainly offered more pipe tobacco and pipes in one place than any other shop. Suffice to say, I tried as much as I could get my hands on. It was also while employed at Iwan Ries that I first became aware of the greater pipe smoking community, eclectic and strange as it is. This was also the first time that I became aware of Smokingpipes.com.
When I left Iwan Ries in 2007, I went back to working in restaurants, and when I left Chicago to move to Portland, OR, Smokingpipes became my primary source of pipes and pipe tobacco. I was continuing to work in food service, making wood-fired pizza at Pyro Pizza. We were using local ingredients, making our own mozzarella, butchering, and curing our own meats, making our own sodas, growing our own herbs, etc. I had always cooked from a young age, but this was really creating food on a whole new level. I also had the opportunity to build two wood fire ovens for the company, which was really cool.
After a few years at Pyro, I learned of a job opening at Smokingpipes and decided, at the urging of my girlfriend at the time, to apply. They called me the next day, and a week later I flew to South Carolina to interview. I was hired in the Customer Service department for Smokingpipes.com. Cornell and Diehl had become my favorite blending house, and I was delighted to learn that they were merging with Laudisi, SPC’s parent company. Later it came to light that when C&D was to South Carolina, head blender Ted Connolly would be taking retirement, and toward the end of 2014, I was offered the position as his replacement, which I gladly accepted.
I began traveling to Morganton to train with Ted C. and the team in the beginning of 2015, and in May of that year the company relocated to join the rest of Laudisi in the new facility, located in Longs, SC. That’s the condensed version, anyway.
If people like what you’re up to, how do they follow your activities and those of C&D online? Is there a C&D tobacco you’d recommend to start with?
We’re pretty active on all of the usual platforms — Instagram, Twitter, Facebook, and YouTube — plus, as you know, we tend to lurk around the forums.
New pipe smokers tend to roll with Aromatics when they first start out. As such, Autumn Evening (by far our most popular Aromatic) is perfect for newbies, as it smokes dry and cool, which means less relights and tongue bite. Plus it has the same unique red Virginia Cavendish we’ve used in The Beast, only with a topping of boozy maple.
Sorcier Des Glaces & Ende “Le Puits des Morts” will be released in September via Obscure Abhorrence Productions! A “split” album filled with darkness, isolation and misanthropy… brand new songs from both bands, exclusive ones. There will be some guests on the title track, “Le Puits des Morts”, including Monarque, Nordet (Brume d’Automne), Blanc Feu (Chasse-Galerie, Cantique Lépreux) & I. Luciferia (Ende). A first song will be available by the end of April. Here’s the track-listing of this unholy alliance:
SORCIER DES GLACES – Le Puits des Morts
SORCIER DES GLACES – Glaciale Solitude… Dans la Pénombre Hivernale
SORCIER DES GLACES – Dans l’Immensité Blanche de la Plaine
SORCIER DES GLACES – L’Ombre Squelettique du Temps
ENDE – Notre Falaise
ENDE – Sacrifice
ENDE – Call from the Grave (Bathory cover)
ENDE – Fehér Isten
I loathe a chocolate beer, or any other such testicle-neutralizing fru-fru nonsense, but a beer that has a flavor like that of chocolate can attract my attention. Imperial Stout is like chocolate, coffee and whole grain bread mashed into liquid, run through fire, and then smoothed in vast casks of ancient stone. It has a smooth flavor and feel, high alcohol punch, and dense labyrinth of flavors.
Now, keep in mind that reviewing Sam Smith beers and giving them the thumbs up is like shooting fish in a barrel. The shocking review would be one that found one of their products inferior, mainly because they do a good middle-of-the-road job turned up to A+ levels. It is hard to find a better brewery, at least that does not involve hiking for a day to meet some rather spaced-out monks. But, the question with Sam Smith is how to enjoy their beers and why, because not every beer fits every occasion.
With that in mind, Imperial Stout is not an everyday beer. It is more a ceremonial beer, probably more appropriate for the center of the day than its end. It is unrelentingly rich from start to finish. This is best drunk in an iron flagon with a thick cigar in hand, preferably while holding a weapon and/or torturing dissidents. It is a strong, violently excellent beer that may not fit except during special occasions in your life.
My first thought when drinking this beer was: someone finally fixed Coors regular. This is what is called an adjunct beer, meaning that they use overstock of cheap grains like corn to brew the stuff, and keep other ingredients low, resulting in a sweet light beer with a warm fermented but not malty taste.
Personally, I like these, because they are all-day beers: simple but not simplified flavor, gentle and yet enough alcohol to keep interest, and thin / mild so that you can drink 38 of them before you decide to sing along with “Wonderwall.” Corona Familiar is no different, joining other “beach beers” like Caguama and Landshark Lager in my stable of tools for casual alcoholism.
Unlike its watery/uriney cousin Corona Especial, Corona Familiar is somewhat hearty but can still be a relatively hydrating and yet refreshingly intoxicating — at 6% ABV — beach beer. It has more of an squash-like fermented flavor, probably from the corn and rice used, but burns clean and leaves a pleasant mild intoxicating effect about appropriate for lawn chairs, sunny days, blue skies and ill-advised relations with women named Candi.
Unlike most beach beers, this one can be found in its 32oz size for under $3. That makes this wino beer for people who do not want to end up under bridges or in vans down by the river. While I admit violent bigotry against all Corona products for the name alone, this one is worth buying again.
Kawir’s Father Sun Mother Moon strikes one as simple and mediocre pagan pop metal. From the recycled tunes to the standard, swinging rhythms of the genre that make actual metalheads cringe, Kawir has collected and presented them all to us on their new album. Kawir debases their music, pandering in the same way as those worthless politically-correct pop-dressed-as-metal bands like Turisas do. It really does sound like these Greeks could have been hanging out with Congressman Freddy Lim and Jesse ‘Djent-Black’ Liu of Cthonic, or drinking beers with the geeks from Tengger Cavalry. All these accusations are well deserved. The album therefore deserves to be dismissed as third-rate pap. Despite this, it is useful to look at this inconsequential list of boring tunes in terms of their de-evolution from Kawir’s previous album, Isotheos.
The concrete symptoms of banality and mediocrity can be found in the overall decline in richness of melodies and rhythms. Melodies have been shortened: they return much quicker to the root tone and rely more heavily on simple-silly rhythms ‘typical’ of Pagan pop. The variety of the types of melodies (that is the different arrangements of the motifs and their variations) are much less in number. Exactly the same with the rhythm guitars: less variety and where there was minimalism (which by definition, cannot be further simplified without loss of value), we now find a dumbing-down. The strict cyclic structures are far more evident in this album, replacing the quasi-linear Eastern European black metal which was used on their 2012 release. This uncreative disaster reaches unbelievable proportions when we encounter a dull track where after subjecting the audience to an ad nauseam repetition of a melody over a beer metal rhythm, Kawir simply fades out to avoid any shock to casual radio listeners in order to make it easier for the corporate broadcaster to place advertisements right after it.
While Isotheos melded melody and rhythm into a phrasal motific force, Father Sun Mother Moon clearly separates the paradigms of melody and rhythm. This in itself does not mean the end of the world but nothing is done to balance the combined simplicity. In fact, repetition plays an even greater role in filling out the runtime of this album: variations are less frequent, variation distance is smaller or unrelated, and single melodies or rhythms contain less content (movements from the tonic, manner in which they return to the tonic, temporary movements to different tonics, and even number of notes). Some sections on Father Sun Mother Moon reach the heights of the previous record but the overall quality is definitely lost.
A few weeks ago I conducted a short interview with Brian Tatler (center), the guitarist and primary songwriter of Diamond Head. Their new self-titled album was released on April 7th and will be reviewed on Death Metal Underground shortly. Marred by technical difficulties, here is an edited transcript:
Hi Brian, I’m Daniel from Death Metal Underground. I understand Diamond Head has a new album coming out this spring?
Yes we do. Diamond Head comes out April 7th.
Did you try to hearken back to your early work or go in a more commercial direction?
In a way. We took a look at everything we’ve done over the years. This album should sound like Diamond Head. We took a very Diamond Head approach.
Did you modernize your music? Use digital production and all that?
Well it’s still the old Diamond Head sound. I used a Diesel amp and we recorded into Pro-Tools too. We wouldn’t have been able to get that sound back in 1982. Writing is the main thing. We try to capture the magic in the rehearsal room.
Songwriting is the most important thing.
So much modern metal is just one cool guitar riff and then chugging along until the next part that has no relation to the first.
You still need to write a song.
Who are your songwriting inspirations?
Well, Led Zepplin, Black Sabbath, those sorts of bands. I don’t listen to that modern sort of stuff that much. Some say we write the same songs over and over. That’s the way that stuff is. Diamond Head sounds like Diamond Head. The most influential records were the first few Led Zeppelin, Sad Wings of Destiny, Machine Head.
How do you feel about your influence on the metal and the more extreme sub-genres? Inspiring bands like Metallica, Celtic Frost, and Darkthrone who sometimes copied directly from you?
It’s easy to get deep into the stuff from your youth. You watch these bands play, get a tape from across the ocean a thousand miles a way, and after a few months of playing and writing your own material, what do you know? You have the same riff that’s on the tape! It’s nice to be influential. It makes the band feel important; justifies what we were doing. It’s been said Diamond Head were a musicians’ band: a band that other bands liked. We never sold that many records.
Even things like “Search and Destroy” having the same riff as “Sucking My Love” in a different key?
“Dead Reckoning”. It’s not the same; it’s slightly different. It’s flattering. I’ve got my own stuff from somewhere. Bits of Black Sabbath and AC/DC. Diamond Head were a stepping stone between thrash and them.
I noticed on songs like “The Prince”, you have tempo and rhythm changes in the drums uncommon for metal of the time.
Well we moved the drums around to get more out of each section. We had to get it as good as it had to be. No nudging through
“Am I Evil?” is perfect.
“Am I Evil?” took a while. It took a while to do it. The intro, lots of verses, the last section to the ending, and then going back to the main riff, and testing it out live.
So many bands never have the opportunity to play live now. How important was that?
We tested out everything live to see what songs and verses did work. What would work up a crowd. Some songs didn’t work. This one worked.
Did you start playing live early on?
We formed in ’76 and played our first show in February of ’77.
In local venues like pubs?
Lots of venues. Some not local. One in Birmingham. We started playing in pubs. No clubs. We would put on our own gigs.
Sabbath were from Birmingham. Was that a big deal?
We felt we were following in their footsteps: Black Sabbath and Judas Priest. It’s the second biggest city in the UK. Birmingham had so many bands. Always did too…
How much pressure did Diamond Head feel to become more mainstream and commercial rock?
A bit of pressure. We signed to MCA in 1982. Iron Maiden, Motorhead, and all UK bands appeared on Top of the Pops with their singles. Our long songs prevented that: “Sucking My Love” is 9 minutes long; “Am I Evil?” is 7:40 even. Not a comfortable fit. MCA wanted us to be more like Led Zeppelin except we had no PR, no real touring support with good lineups , nor a huge studio budget. Being managed by our singer Sean Harris’s mother didn’t help. We were dropped from MCA as she wouldn’t agree to a change in management.
Was it a Manowar type situation where he lived with his parents?
He lived with her then. I believe he still lives in the same place but on his own.
The Manowar singer still lives in his parents’ basement in upstate New York.
Any upcoming touring plans?
Lots of dates across Europe. We’re playing Hard Rock Hell and some dates in Germany, the UK, and Ireland.
Liers In Wait cast chains of non-random riffs in the legato style of metal pioneered by Morbid Angel to no effective artistic purpose. Spiritually Uncontrolled Art comprised of rationally woven re-contextualization of familiar death metal patterns which never manage to take on a distinct character as individual tracks. The album as a whole doesn’t begin to approach a definable emotive personality because the subject of this work is the personality of the composer: a master of phrasing with an encyclopedic knowledge of metal so adept in his craft that self-editing would diminish the efficacy of his work. These streams of coherent yet cold consciousness are hewn to Necrolord’s own sense of bravado; made concrete by a vocal delivery that proffers dominance rather than dread.
This is neither music for music’s sake nor music for the sake of expressing a transcendental idea. It is entirely about the composer’s ability to write coherent music out of the first thing that comes to mind – a mind that is very much a wellspring. In some ways this album is analogous to Eighties shred which existed as a pure demonstration of superiority over its contemporaries by parasitizing familiar content that was then latticed to the listener through overly sentimental melodic hooks. Antithetically, Necrolord eschews hooks entirely as they would constitute breaks and disruptions in the stream by deploying recognizable moments and thereby give the impression of emphasizing the better material, and consequently highlighting the lesser ideas of which there are none to be found. Conceptually this seizes the middle ground between tuneless noise and the summa cum laude of ten-mile-long cock rock.
Lasting impressions, significance and meaning is for the sensitive feminine types, not the fucking overlord. In this sense, Liers in Wait is a resounding success. Those lamenting the fact that this music does not “Do something” gravely miss its point.
Ripper picks up in the Merciless vein and keeps that Swedish landmark as its guiding force. This band keeps the attention of listeners however through its spirit and its refusal to adopt clichés. It uses riff forms found before, but keeps them specific to the song so that they relate to the other parts, preventing songs from being “grab-bags” of former ideas.
Its weakness comes in one of the hardest tasks for any metal band: distinguishing songs from one another when they have a similar approach to tempo and vocal patterns. Here, Ripper lag behind their mentors. This is the only flaw. The Instrumentation is top-notch and creative: the riffing reflects the theme of each song and displays competence and wrestling complexity from simple power chord clusters while vocals are both harsh and complement the music.
Incorporating melodic and instrumental elements, Ripper keeps the intensity high. This creates the type of listening environment that bands like Angelcorpse perfected: both intense like aerobic activity in the presence of terror, and somewhat monolithic because so much of it hits the same sweet spot of rhythm and motion. But its spirit never flags and the resulting enjoyment of the music, for listener and musician, forms a bond that far surpasses what most of the underground has been doing for the past 20 years.
Kawir is a band that belongs to that side of metal whose discussion allows the true metal nihilist to distinguish between free minds who embrace the spirit of metal’s independence from political or religious doctrine. Metal has been characterized by its portrayals of power, courage and strength, while looking down on sheepish behavior, compliance with the system and general cowardice. When bands who openly express musical worship of Pagan ideals as a source for racial/national power, it gives one the opportunity to weed out the sheep in metal guise. The metal nihilist will find in the concept of the pagan theme in metal yet another expression of pride and power apt for the narrative of timeless natural struggle. He may dispassionately nod its head to the idea without necessarily embracing it as something that speaks to him, personally. He holds the burning flame of life in front of him, observing the destroying consumption that drives action in eternal co-dependence with passive materia. He stares at it directly without fear of having the miserable protective borders of human-society constructs burn away, nay, welcoming this removal of the illusory.
But the infiltrator will often reveal himself by expressing typical modern-urban discomfort in the face of the tribal roots of these ideas, deeming them not sophisticated enough and the product of ignorant naturalists and superstitious people– because they have obviously never even read Karl Marx, let alone Michel Foucault or Noam Chomsky. We also find the majority of undecided metal fans who can guiltily accept these “rash” ideas in the context of artistic expression, although not without signs of rubor on their cheeks and heavy perspiration on trembling hands, more characteristic of virtuous maidens than courageous warriors. Yes, metal is masculine, and no, it does not imply misogyny. These last at least exhibit the intellectual honesty towards which metal tends to gravitate, even if the shackles of their own societies and times can still be felt as they adopt a tongue-in-cheek disposition and keep their fingers crossed behind their backs in a sort of secular modern superstitious fear. One may still find them making quick apologies for the band or comical quips that prove their allegiance to their in-time, humanist ideals, putting their puny minds at rest that they have not incurred in heresy.
Isotheos (ίσο – θεος, ‘equal [to] god’ — Godlike) is the Apollonian in-time expression through metal and minimalist Hellenic elements of Dionysian timelessness, the underlying human genetic memory of survival that Nietzsche wisely derived and intuited and that Jung demonstrated empirically. This collective unconscious speaks to us in mental images, flashes of emotion and conceptual ephemeral . A sign that Kawir places utmost importance on the core and significance, rather than on the temporary expression of these, is that although there is a clear embracing of the products of Greek pre-classical antiquity as the heritage of its nation and people, references to both pre-Hellenic and Roman outward manifestations are admitted into the concept of the album. The album deals with the transcendental aspect of Greek symbology, not as temporary and superficial expressions of this or that period, but as evidence to the unique evolutionary path of Greek survival arising as fumes from boiling blood.
Musically, Isotheos revolves completely around simple, modal themes, which in no moment cede to any other element. While there are vocals, rhythm guitars and often more than one melody line, the centrality of the theme is never, even for one moment, lost. Kawir simultaneously achieves the high-energy, dense locomotive character of metal that rides on thundering drums, as well as the melodious, inspiring horizon-gazing sounds of primeval Greece. These, we have now come to associate with the ancient temples and oracles through reconstructions of that ancient European music. Rhythm depends on power chord phrases closer to the approach of Witchfinder General than Iron Maiden, thus a stronger backbone and less distraction. Despite this adherence to simplicity (the beautiful simplicity, the ‘good simplicity’ of Plato’s Socrates), there is no lack of variety, and through smart use of economical and effective use of a close-style repertoire of techniques achieves a strong and fluent expression.
Particularly stamped on the capable listener’s mind will be the natural consistency with which themes are treated, the healthy growth of variations without even the slightest hint of pretension. In no moment does technique supersede communication and structure, a balanced sort of modest beauty that maintains its worth by carefully and sparingly choosing climaxes that never come beforehand. This is achieved through gradually evolving the theme, so that a structure of cyclic transformation is represented. Each song makes use of one theme only, usually, tying it poetically with the concept, and making absolutely revolve around it. This is not a theme on a melody dancing above moving harmony with an occasional quote and echo, but rather the whole of the music adds a grain to the theme itself, as it assumes no definite form and all forms. While the classical variation starts from a primordial seed that is represented in increasingly complex forms, the ancient spirit of Kawir’s music lends no particular importance to any of the manifold incarnations of Dionysian memory. To be more precise, what we find on Isotheos are not the strict romantic themes, but motific variations that are kept at relatively close Levenshtein distances, thereby guarding them from disfiguration.
In this music, every single aspect is important and none of them are. Their preservation in transfomations is immortal, but their temporary forms or manifestations are only suitable for that instant and hold no value in and of themselves. Each moment is distinctive but strongly related to future and past, as water raining on the tops of mountains, running through ravines, precipitating down waterfalls and reinvading the ocean uncountable times as no single drop of water survives but is reincarnated. If there ever was an album that explicitly collects the Nietzschean balance of the Apollonian and Dionysian, it is Isotheos. If there is any place in metal which takes one closer to the Platonic musical ideal through appropriate forms, it is Isotheos.