Cogadh – “Kingmaker” – Atanathos

There are debut albums that function as a simple calling card, and then there are those that, from the very first contact, make it clear that the band has a well-defined vision and an ambition that goes beyond merely following genre codes. «Kingmaker», the first full-length album from Cogadh, clearly belongs to the second group. It is not just a well-executed black metal album: it is a work that understands tradition, respects it, and, at the same time, allows itself to expand it with personality, cultural identity, and a beautifully constructed sonic narrative.

Cogadh is a Canadian duo formed in 2021 by Ira Lehtovaara (electric and acoustic guitars, bass) and Alex Snape (drums, vocals, whistles, accordion, and violin), with members spread between Ontario and Quebec. In just a few years, the project has evolved from a promising debut EP («Runetongue», 2022) to this «Kingmaker», which represents a notable qualitative leap in both composition and concept. While that first work showed a band anchored in traditional black metal with a melodic sensibility, this album solidifies that foundation and enriches it with folk elements, acoustic textures, and a strong sense of atmosphere and place.

From the outset, «Kingmaker» makes it clear that it does not seek immediate impact through constant speed or unnuanced aggression. Here, intensity is built with patience, using long structures, evolving riffs, and special attention to detail. The opening track, “Cromwell’s Curse”, is a definitive statement of intent. At over eight minutes long, the cut develops organically, alternating passages of raw, melodic black metal with sections where Irish whistles, ambient layers, and a more ceremonial tempo come into play. These are not gratuitous ornaments; these elements provide a sense of ritual—of ancient history invoked through sound.

Musically, the influence of bands like Darkthrone or Taake is perceived in the rawness of the riffs and a certain deliberate harshness in the sound, but «Kingmaker» also draws clearly from outfits like Havukruunuor Drudkh, especially in its way of integrating epic melodies and an almost pagan undertone. There is a constant sense of connection to the earth, reinforced by the use of ambient recordings captured in the forests of Quebec. These natural sounds do not interrupt the music; instead, they are subtly integrated, enhancing the immersion and giving the album a very specific identity.

“Restrainer of Dreams” continues to develop this idea with a somewhat more direct yet equally atmosphere-laden approach. Here, Alex Snape’s drumming shows remarkable versatility, alternating classic blast beats with more restrained rhythms that allow the guitars to breathe. The vocals, mostly raspy and harsh, are complemented by deeper registers and occasional, almost narrative nuances, broadening the album’s expressive range. This vocal variety is one of the aspects that distinguishes «Kingmaker» from many genre debuts where uniformity is often the norm.

One of the record’s greatest successes is its ability to maintain coherence throughout relatively long compositions without falling into repetition. “Donnchadh, the Hunter” is a clear example. The track is built on a primary riff with a strong melodic character that transforms progressively, supported by subtle shifts in dynamics and the introduction of acoustic instruments. The violin and accordion, used sparingly, add a melancholic tone that reinforces the song’s narrative component, evoking images of ancient legends and mythological figures.

“Spill the Giant’s Blood” recovers a more combative tone, with a structure closer to classic black metal but without relinquishing the folk nuances that define the album. The guitar work stands out here, with riffs intertwining with more open melodic lines, creating a constant tension between aggression and solemnity. It works very well as a midpoint for the record, balancing the more atmospheric side with a more direct discharge of energy.

As «Kingmaker» progresses, it becomes evident that we are not dealing with a mere collection of songs, but an album designed as a whole. “The Misery Scryer” delves into more introspective territory, with a slower tempo and a greater emphasis on building dense atmospheres. The guitar layers overlap to create an almost hypnotic sensation, while the vocals seem to emerge from the background, as if they were part of the soundscape rather than a narrative foreground. It is one of the darkest tracks on the album and also one of the most enveloping.

The closure arrives with “The Unbroken Line”, a piece that masterfully summarizes everything Cogadh proposes in «Kingmaker». Here, the aggression of traditional black metal, epic melodies, folk elements, and the atmospheric work that permeates the entire record converge. The song develops gradually, reaching several emotional climaxes without ever losing control. It is a powerful and coherent finale that leaves the listener with the feeling of having completed a journey, not just a succession of tracks.

From a technical standpoint, the album features very well-crafted sound. Recorded at Nomadic Arts Studios(Chertsey, Quebec) with additional recordings at Skaldic Studios (Guelph, Ontario), and mixed and mastered by Alex Snape himself, «Kingmaker» achieves a notable balance between rawness and clarity. It is not an overly polished record, nor does it pretend to be; it retains a harshness very much in line with black metal while allowing each instrument and sonic layer to be appreciated without difficulty. The bass, in particular, has a notable presence, providing depth and body to the mix—something not always achieved in this type of production.

The visual aspect also deserves mention. The cover art, by Manuel Scapinello, fits the album’s musical proposal perfectly. Without resorting to excessive clichés, it transmits a sense of antiquity, conflict, and solemnity that reinforces the general concept of «Kingmaker». It is a visual complement that adds value, not just a mere decoration.

Lyrically and conceptually, although «Kingmaker» is not explicitly presented as a concept album, there is a clear thematic line related to history, power, identity, and conflict. The song titles and general atmosphere suggest a critical and reflective look at historical and mythological figures, treated through a dark and ambiguous lens, very much in line with more introspective black metal. There is no simplistic glorification here, but rather an exploration of violence, legacy, and the consequences of power.

Compared to other recent releases within melodic and folk black metal, «Kingmaker» stands out for its maturity. It is especially striking that this is a debut, as many bands need several records to reach this level of cohesion and creative confidence. Cogadh proves to have assimilated their influences and filtered them through their own identity—something that is not always easy in a genre so marked by tradition.

However, the album is not without small debatable points. Its length and the slow-paced approach of some tracks may be demanding for listeners seeking immediacy or a more direct impact. «Kingmaker» asks for time, attention, and a certain willingness to be swept away by its atmospheres. It is not a record for quick consumption, but a work that gains with repeated listens, as nuances begin to reveal themselves more clearly.

Ultimately, «Kingmaker» is a remarkable debut—ambitious and very well executed. It is an album that expands the margins of traditional black metal without betraying its essence, integrating folk and atmospheric elements in an organic and coherent way. Cogadh presents itself here as a band with a clear vision and enormous potential, capable of dialoguing with the genre’s past while looking forward with its own personality.

Score: 8.8 / 10

If this is the starting point, the project’s future looks more than promising. «Kingmaker» not only establishes Cogadh as a name to watch within the contemporary black metal scene but leaves the feeling that the best is yet to come.