In Greek mythology, Atropos is one of the three Fates, three sisters who enforce the destiny of mortals. Clotho spins the thread of life, Lachesis is responsible for measuring it while Atropos, the oldest of the Fates, chooses the manner of death and finally cuts the thread.
Greece might not be among the countries the majority of metal fans would remember to mention when talking about the development of their beloved music genre. Yet the southern European nation should definitely be on their list, especially when the conversation is about black metal. The focus on the Norwegian scene makes many forget that one part of the equation developed parallelly on the shores of the Mediterranean Sea. Hellenic black metal bands drew inspiration from other sources than their Nordic brethren, namely from Greek folk music, Greek history and mythology, and they consequently produced a different sound and favoured different aesthetics. The connection between Greece, Greek mythology and black metal might not be at the forefront of the average metal fan’s mind, but it certainly exists.
Well aware of that connection and building on it is Yianna Bekris, a multi-instrumentalist and composer from Olympia – not in Greece, but in the Pacific Northwest and known in the metal community as hometown of Wolves in the Throne Room. Though one instantly thinks of Greece and Greek mythology when hearing Olympia, the town was actually named after the nearby majestic Olympic Mountains, and the name of Bekris’ project Vouna appears also to have been named after them. “Vouna” means “mountains” – in Greek.
Like many musicians, Bekris used the time of the pandemic and the involuntary hiatus it brought to write and record new music. Just like its predecessor, Atropos was recorded at WITTR’s Owl Lodge in Olympia, but unlike Vouna’s self-titled debut which came out on WITTR’s Artemisia Records, it will be released on Profound Lore. A big step forward for Vouna that will probably bring the project access to a broader audience and more attention.
And attention this unusual project certainly deserves! It’s thematic focus, namely the inevitability, irreversibility and the suddenness of death, the different emotions that arise trying to get to grips with it, might not appear extraordinary. While being one of the most profound subjects for mortal beings, it is also one of the most common, even if it is examined through the backdrop of Greek mythology. The music of Atropos, however, is of a distinctive, singular character, testifying to a unique vision.
The foundation of Vouna’s sound is clearly doom metal. Yet atmospheric black metal, darkwave, folk, film scores and synthesizers play an important role as well, as do both clean and harsh vocals. From all these elements, complex, singular, highly atmospheric soundscapes are woven, the multiple threads representing different, often contrasting emotions. The tempo, as you would expect from doom metal, is generally slow, but there are occasional outbursts of fast drumming which definitely make for a more diverse and more exciting listening experience. The images evoked, partly maybe because of the multitude of references to Greece and Greek mythology, are those of plays, opera, drama and theatre.
For a taste of music and atmosphere, I suggest you give album opener Highest Mountain a listen, followed by track number two, Vanish. Together, they will introduce you to all the elements described above.
Judging from the buzz created by the usual suspects, Vouna are one of the rising stars on the doom metal firmament. Their second album Atropos with its blend of doom, black metal, folk and darkwave will delight old fans and undoubtedly win over new ones.
(8/10 Slavica)
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