H V I L E I K A O S
Agios O Fotiá
2017 Era Horrificus
We are witnessing the rise of a label that, on the one hand, boasts of being led by personel experienced in different spheres of nefarious action on the ground, and that on the other, shows itself selective at both musical and ideological levels. The conjunction of these creates a unique opportunity seldom seen in the history of metal, a genre in which great artistic potential has been squandered by a lack of comprehension of what is being ultimately held in one’s hands. Deathwave Nexion promises to be one of the first loci of mature metal cultivation on North American soil. We see a far-reaching influence and presence stemming from a source that appears more monstruous the more one looks into it. In its train, the opening of mainstream operations by the nexion has brought to our ears the Hvile I Kaos’ first full album —a grand opening indeed.
For precise descriptions, Hvile I Kaos can be considered a chamber music ensemble, the music of which circles around the cello as the main instrument. As per classical tradition, it is indeed the wielder of the central instrument who leads the ensemble. He is as well the composer of these evocative pieces, to which the rest of these talented musicians contribute their own interpretations and idiosyncracies. The music is, to this writer’s amateur ears, modernist acoustic arrangements built on popular and folk melodies, but taken to a singular level of development in composition where they escape their roots and become the means with which the artist carves forth a new path. It is tempting, and perhaps not wholy unjustified to liken this to soundtrack music, although as far as that music goes, the generalizing comment does Agios O Fotiá a great disservice. As one follows the opening ‘populisms’ of the music, a joyous Pagan defiance that summons Life as much as it does Death communicates the unabstracted existence of human beings in a reality that is truly beyond these illusory poles —in reality, states of being distorted by blundering mundane minds.
A hidden, but effective power of manifest action and the bringing about of evil, not in the form of mythology as in the olden days of underground metal when daydreams and blurry visions led the way, but of an accumulated range of experiences that condense into the sonic efluvion that acquires depth by virtue of hindsight into concrete events. While this music is somewhat derivative in terms of expression, and may artistically show an imitative character of pre-established tropes, great acumen is shown in narrative elaboration, attention to detail —not to mention an intense emotional, even psychical, connection to more than simply music: this is art that extols visceral terror. The sensation is not unlike the immediacy and premonition of survival in danger that the neophyte might feel upon repeatedly calling on Shaitan while uttering his name and beholding his sigil. This is the plain, subtle and direct elating sensation of the edge of a cold blade; the living of eternity in moments of unsurpassed focus and clarity through sheer horrific ecstasy.
While one may at the very outset be dismissive of some or all of these works, especially given their surfaces’ blatant resemblance to mainstream cliches and overly-trodden figures of musical speech, the moment one engages the music thoroughly for what it has to say, the soul is carried away. More interestingly, despite any impressions words or claims might make, the character of the music —the marks it leaves on the heart— are of a humble tone. Echoes resound in the sensitive listener that become humbling to them as well, triggering introspection and self-challenge, or at least the heart’s need of it. There is no pretension, but rather just a well of remembrance, of pain from life and individual circumstance. This is true not only of Hvile I Kaos, but also of other projects linked to Deathwave Nexion in one way or another, such as Decieverion and Serpent ov Old , whose music should also be perused delicately to find the grain therein. [1]
Under a thin skin, we see highlighted here as part of the underground brotherhood relations and influences that come to feed the belly of this beast. Revelry and joy, mixed with blood-letting and pain, all in the most vivid possession by unnamed deities given tribute by those who aspire to join their ranks, by those whose minds reminisce of their non-existing past beyond the stars, to which they must strive to return, unto death, beyond death. The present work hints at this evolutionary movement into and across an abyss out of sight —yet beheld just below our quivering senses, resounding at the base of our skulls— in a path the entrance to which bears the mark of Shaitan, and upon which the Initiate fervently wishes to be blessed by the apparition of the Mistress of Blood. [2]
The reader on whose ears these words find a welcome reception, will perhaps take them as a salutary note for those who need no further justification for self-overcoming. As enactment of magick, a sword of death, Hvile I Kaos’ present, and hopefully its future, work has a transformative effect over those capable of raising themselves above themselves. Let its passionate music fill your heart, listener; let its muliebrial spectre haunt your wake and your dream, seeker. I for one never cease to long for its embrace.
Notes
[1] Recommended works: Decieveiron – Decieverion (2012); and Serpent ov Old – Withering Hope (2012). We must also emphatically commend the new single by Serpent ov Old in 2018, a preview of their next album to be published through Deathwave Nexion. The band has ascended through their own style to a new stage of coalesced beauty and virtuousic emotionality tempered by its dignified adoption of black metal.
[2] Baphomet – An Esoteric Signification : https://wyrdsister.wordpress.com/2018/07/13/baphomet-an-esoteric-signification/
Tags: Agios O Fotiá, Contemporary instrumental, deathwave nexion, Hvile I Kaos
From what I read on the Deathwave Nexion facebook page, Hvile I Kaos members are joining Abigail Williams on stage in a tour with Ghost Bath that promotes the LGBT values that most popular music today fosters. This seems more hype than something cultivated from mature ideology – a junk food fiend’s Arvo Part!
What you say has no trace of logic at all.
You are simply judging them guilty by association, and in planes that have nothing to do with each other.
Your reasoning, as exposed, is this: “They are associating themselves with Abigail Williams, hence they cannot have any cultivated mature ideology.”
Quite the incompetent and overassuming statement.
The ONA from the beginning has always promoted both homosexuality and anarchist aims in terms of baseline ideology and viable expressions of heresy. Reactionary banter is both expected and challenged in the appropriate MSS dealing with the subject of agenda as well as principle foundations such as the axiom of individual judgement, an important principle of which defines the occult weltanschauung of Anton Long, and thus the ONA. If, you disagree with some lifestyle choice of some one or some thing, your individual judgement is not endemic of any authority, save for some individually mis-understood perception, limited as it tends to be, to the idea that our dark collective is some right-wing nazi-thing (it is not). Perhaps some choose a temporary causal form to forward individual development or external change: that is their prerogative alone, and those individuals accept the consequence thereof. Promoting LGBT-anything does not preclude anyone or any periphery occultist from involvement in “mature” endeavors, it simply reveals character. Your thoughts likewise, reveal character and compatibility with certain sectors of operation, or lack thereof.
Muslims, faggits, and socialists all, will rot in the same hole.
I like how your type reveal themselves.
Tagged.
You’re a fucking dumbass. Keep politics out of metal.
That`s enough O9Aninsm for me today.
Anton Long/David Myatt a promoter of “homosexuality and anarchist aims”? that doesn’t sound likely to me.
The issue has less to do with what “sounds likely” to you, and more with what Anton Long has actually written.
Try to read up first so that you do not come out as uninformed and clueless.
Kakophonix from Hvile I Kaos here.
Yes, my bandmate and I will be joining Abigail Williams onstage. I’ve known those guys for years and I’m proud to call them my friends and colleagues.
Also, Ken Sorceron is an occultist/Thelemite himself and helped point me towards that type of literature when I was just beginning to explore such ideas. Much of his outlook is reflected in his music.
As a parting note, gay people are awesome. You’d know that if you knew the slightest thing about the O9A. This has of course nothing to do with the tour package in question, but if you’re going to stoop to that level of ignorance, I might as well meet you where you’re at.
Either way, Hvile I Kaos does not need your approval. What we’re doing is clearly beyond you.
Endless gay sex on christian graves doesn`t sound that profound. How is that any different from LaGayans and The Satanic Temple?
Hey man what do you got against gay people? Gay is the new straight. Come on it’s 2018, who would want to have sex with a woman who isn’t trans?
Fair enough
i don’t have a problem with homosexuality as such, but i’ve met a lot of gay dudes that suck.
Literally, figuratively, or both at the same time?
^this guy gets it
Fags are only cool when it isn’t apparent that they’re fags.
I think many people are in agreement that people who go out of their way to appear gay are immature and self centered.
Of course, all people have the capability to be assholes. Regardless of race or sexuality, you have the capacity to be a fucking douche.
It`s Pärt, my fellow transvestite aficionado.
Thank you for this. I can’t stop listening.
I can’t believe I have to do this. If you seek a pdf document called NAOS by O9A there is a chapter on Uranic/Sapphic sexual magick:
”Because of the doubling of the female, Sapphic working (sometimes called Sapphistry) is powerful magick. Both participants may combine in the visualization and/or rhythmic breathing of the chosen phrase – the fire is aroused mutually by caress and tongue (locis muliebribus) one ecstasy following the other (mutual ecstasy – though rare unless cultivated by technique – is very powerful magickally). If desired, the procedure can be repeated for as many times as the participants desire. The working is included in the usual manner.
Uranian working may be undertaken as I above with the obvious emendations or one participant may elect to raise the fire of the other via his lips. The visualization and/or chanting of the chosen phrase should follow the pattern of section I. The working is concluded in the usual manner”.
Uranic means ‘of the sky’ and is found in the concept of Aphrodite Urania from Plato’s dialogues, denoting love for the divine. Sappho was allegedly a lesbian, although this is still a matter of debate.
Most people who attack homosexuality do it on the grounds of morality. Which is silly, since according to the darling of those people, Julius Evola, morality “is not a question of “values” but of “instruments,” instruments of a virtus, not in the moralistic sense but in the ancient sense of virile energy. Here we have the well-known parable of the raft: a man, wishing to cross a dangerous river and having built a raft for this purpose, would indeed be a fool if, when he had crossed, he were to put the raft on his shoulders and take it with him on his journey.” (From the ‘Doctrine of Awakening’). Thus according to the trad viewpoint, homosexuality is problematic in the ways that it can block or enhance spiritual development. In ‘The Metaphysics of Sex’, it is clear that some people are natural homosexuals or experience an immature growth of their sexuality. Who are we to deprive them of their chance to Tantric illumination?
Realistically, homosexuality is just an action. If widespread it might lead to social degeneration, in the same sex that heterosexuality can lead to social degeneration. However, I advocate for trannies in chastity in public offices: they will not foster children which means that nepotism will be limited. This is an excellent variation of the Byzantine practice of putting eunuchs everywhere.
Guys, do some research before you blame.
Also, kickass music, it gives energy without becoming tiring, which might happen after listening to too much distortion. I would like to point out that the title is suppossed to be greek, however if that’s the case it is wrong. Except if Fotia is the name of a male spirit, Fotia (φωτιά) in greek means “fire”, and is a female. ‘O’ is the male definite article (the female is ‘i’ and the neutral is ‘to’) and Agios (Άγιος) is the male form of “Saint” or “Holy”. The female form is Agia (“Άγια”). Agios o Baphomet, Agios o Fotia, are derived from the Christian “Agios o Theos” which means, “God is Holy”, and is used in Greek Orthodox morning prayers and blessings.
Thus the correct form is Agia i Fotia – Άγια η Φωτιά, meaning “Holy (is) the Flame”.
You might consider sending this in a private message to the band’s official e-mail.
I’m actually aware that the Greek title is strictly speaking not 100% correct. The way I justify it to myself is that in the o9a tradition, Baphomet is technically female, so the o9a chant Agios O Baphomet should technically be Agia i Baphomet. In other words, I made the same mistake the o9a made. So at least it’s consistent haha.
Thank you for the correction though. Utmost respect to Greek language and culture.
Leave this tryhard garbage and listen to Desert Shore instead, if you wanna go there and be a fag.
And one more that reveals their character.
Using different pseudonyms does not hide your location nor your identity.
You’ll want to try harder if you want to go anonymous.
Not to mention that your “gallantry” is quite distinctive.
Never heard of this group/ensemble before. I’m impressed by some of their ideas on this release, but the only track I like from start to finish is “Agios O Baphomet”. In this piece, the flow and development of the cello/violin parts create a thoroughly absorbing journey. The style and placement of the guitar provides a strengthening counter-balance, especially the initial percussive strumming part. The folky guitar riffs used thereafter provide a simpler role of accompaniment, allowing the superior voices of the bowed string instruments to dominate.
“Agios O Baphomet” is set as the default first track to play on the Bandcamp page, so it’s the first one I listened to. Disappointingly, after then hearing the rest of the album, I can’t say any of the other tracks live up to the same standards of creativity and execution.
On the other five tracks, the excellence of the cello parts is neutralised by the guitar, which seemingly tries to merely emulate the *outer styling* of metal while the other string instruments are conjuring up an *inner feeling* common to metal. (I think this is perhaps what the reviewer was at least partly alluding to when he wrote: “While this music is somewhat derivative in terms of expression, and may artistically show an imitative character of pre-established tropes…”)
Specifically, I find the guitar on all but the last track to be distracting in its composition, timbre and performance. Too often, it resembles acoustic covers of riffs from metal songs. Acoustic emulations of metal guitar styles nearly always lack potency simply because the riffs and methods of playing were designed for amplified distortion, and as such most of the guitar on this album is at odds with that well-proven precedent.
Perhaps the strings would be better accompanied by a different strumming style (some of Michael Gira’s playing on “I Am Not Insane” album comes to mind), a finger-picked style (such as David Leisner’s recordings of Sculthorpe “From Kakadu” & Ginastera sonata op.47) – or even a different accompanying instrument?
The music has caught my interest though, and I’m hoping I might find pieces as good as “Agios O Baphomet” in the group’s back catalogue.
Just a short note after your insightful and incredibly rich comment: I think they should concentrate on the “style” they discovered by utilizing the Baphomet theme to develop a piece in a “limited” but powerful classical way.
Thank you LordKrumb for offering an intelligent and constructive criticism and not being a child.
It sounds to me like you’d generally like to hear something less derivative of metal. It probably won’t surprise you then if I tell you that, as far as I’m concerned, Hvile I Kaos is still basically a Black Metal project. The instruments and timbres may be different, but the compositional approach is essentially the same. For the time being at least, that’s how I see and write my music.
That said. There’s a strong possibility that I may in the near future release something without any guitars at all. Perhaps you’ll find that more to your liking.
And D.A.R.G. I might as well take this opportunity to thank you for this generous article about my workings. Concerning your last suggestion, the benefits of incorporating further elements of chant, and of other types of composition generally written for voice, have not been lost on me. Time will tell.