{"id":938732,"date":"2026-05-05T06:23:43","date_gmt":"2026-05-05T06:23:43","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/938732\/"},"modified":"2026-05-05T06:23:43","modified_gmt":"2026-05-05T06:23:43","slug":"review-kaatayra-caminhos-de-agua","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/938732\/","title":{"rendered":"Review: Kaatayra – Caminhos de \u00c1gua"},"content":{"rendered":"\n

Published by Andy<\/strong><\/a> on 2026\/05\/042026\/05\/04<\/p>\n

\"\"Artwork by: Caio Lemos<\/p>\n

Style: Folk black metal, post-minimalism (Mixed vocals)
Recommended for fans of: Agalloch, Colin Stetson, Panopticon<\/a>
Country: Brazil
Release date: 24 May 2026<\/p>\n

When Phil Tougas released albums with Exx\u00fbl<\/strong><\/a> and Worm<\/strong><\/a> back to back earlier this year, I started wondering how prolific artists with multiple projects keep their bands distinct in their heads. How did Phil Tougas know which riffs were to be epic doom (Exx\u00fbl<\/strong>) and which were to be gothic black doom (Worm<\/strong>)? How does he differentiate which shreddy guitar solos are more fit for Cryptopsy<\/strong> worship (Serocs<\/strong>) or power\/prog (Eternity\u2019s End<\/strong>)? This brings me to Brazil\u2019s Kaatayra<\/strong>, the band that first alerted me to the existence of Caio Lemos in mid 2020. After putting out five albums under the moniker, Lemos placed Kaatayra<\/strong> on indefinite hiatus1<\/a>; he\u2019s remained busy with other projects in the meantime, though\u2014I\u2019ve reviewed seven albums of his for the blog since the dissolution of Kaatayra<\/strong>,2<\/a> and that\u2019s not everything he\u2019s released in that timeframe. With numerous projects to choose from, why did Caminhos de \u00c1gua drive the resurrection of Kaatayra<\/strong>?<\/p>\n

Lemos has released several masterpieces under various names with just as much creativity and effort as Kaatayra<\/strong>, but I think Kaatayra<\/strong> is the most authentically him, embodying Caio Lemos the person; Br\u00edi<\/strong> and the others have his signature sound and often touch the sublime, but you can feel the man\u2019s heart and soul embedded in S\u00f3 Quem Viu o Rel\u00e2mpago \u00e0 Sua Direita Sabe, Inpariquipe, and now Caminhos de \u00c1gua. As the title suggests, Caminhos de \u00c1gua is inspired by the idyllic rivers in central Brazil, where Lemos is from, and he uses this naturalistic theming to frame a metaphor in remembrance of his grandmother, who passed away during recording: Given the multifaceted purpose of this newest Caio Lemos album, the necessity of the Kaatayra<\/strong> name is clear. Both the opener \u201cRio Preto\u201d and closer \u201cRemanso de Maria\u201d\u2014a tranquil minimalist track entirely dedicated to his grandmother\u2014feature spoken words from her. The latter is an incredibly sweet and slightly humorous exchange between them, in which Caio coaches her how to recite the small poem he wrote for the intro, providing a touching insight into their relationship; Lemos also sings of how she taught him to love but never how to say goodbye in \u201cRemanso de Maria.\u201d Continuing with the record\u2019s strong emphasis on family, Lemos also uses part of the title track to sing an adorable duet with his young niece, whose pure, light voice naturally melds with his.<\/p>\n<\/p>\n

Those familiar with Br\u00edi<\/strong> and Kaatayra<\/strong> won\u2019t be surprised by the sound of Caminhos de \u00c1gua as another album with the signature Lemos sound; those unfamiliar will hear something totally novel, as Kaatayra<\/strong> once again performs black metal riffs with solely an acoustic guitar\u2014as well as a heavier emphasis on woodwinds this time\u2014amidst a sea of polyrhythmic blast beats, bells, whistles, and percussion. Many of the myriad of rhythmic highlights take place in \u201c\u00c1guas Passadas,\u201d such as the drum and synth parts which fade into and out of each other in the first stages of the track\u2014a choir of chanted vocals does the same just past the midpoint. Following up a new age-y interlude track that is replete with water sounds, flutes, and formless synths, \u201cRitmo Corredeiro\u201d ratchets up the intensity with drum\u2019n\u2019bass-informed percussion that explodes into intricate blast beats at the start of the following song.\u00a0<\/p>\n

In between swells of the blackened, blast-beat-laden intensity, Kaatayra<\/strong> builds repetitious post-minimalist motifs into majestic crescendos. In theme, each track begins and\/or ends with field recordings of running rivers\u2014as if the album is always in the river\u2014before slowly layering in instruments. The piano, acoustic guitar, and various styles of percussion are Lemos\u2019 strong suit, especially as one of the most underrated drummers in metal\u2014the entire Kaatayra<\/strong> sound, melding his various influences into black metal, comes together in the last third of \u201c\u00c1guas Passadas.\u201d Moreover, Lemos\u2019 clean vocals are at their strongest ever on Caminhos de \u00c1gua; the complex mix of emotions that arose during the recording process for the record come to the surface through his voice. As always on a Kaatayra<\/strong> album, the harsh vocals are a valuable textural contrast, but they\u2019re also the weakest part, rather utilitarian stylistically\u2014Fl\u00e1vio Dourado\u2019s guest vocals, which are a blended clean\/harsh style, on \u201c\u00c1guas Passadas\u201d are strong, though.<\/p>\n

The biggest strength of Caminhos de \u00c1gua compared to other Kaatayra<\/strong> albums is its production, which allows Lemos to crystallize emotions into music by being more vocal-forward than ever before. The buildups and resolutions are facilitated by wide dynamics focused on transparent production rather than total sonic control, allowing for clarity in both the metal and folky minimalist sections. Lemos manages to keep the earthiness that previous albums had while adjusting enough to match the tranquility of a meandering river.\u00a0<\/p>\n

Caio Lemos delivers excellence time and time again, and Caminhos de \u00c1gua counts among his best works yet; Caminhos de \u00c1gua is a cathartic album that captures the sublimity of Brazil\u2019s natural beauty while acting as a quiet tribute to his grandmother. While Lemos\u2019 music transcends whatever the project\u2019s name is, it\u2019s only fitting that such an intimate album is a return to what started it all, a fitting new chapter for Kaatayra<\/strong>.<\/p>\n

Recommended tracks: Rio sem Nome, \u00c1guas Passadas, Caminhos de \u00c1gua
You may also like: Br\u00edi<\/a>, Vest\u00edgio<\/a>, Salqiu<\/a>, Vauruv\u00e3<\/a>, Oks\u00e4t, Antropoceno<\/a>
Final verdict: 9\/10<\/strong><\/p>\n

Related links: Bandcamp<\/a> | Instagram<\/a><\/p>\n

Label: independent<\/p>\n

Kaatayra<\/strong> is:
\u2013 Caio Lemos (everything)
With guests<\/strong>:
\u2013 A. Lemos (vocals: track 6)
\u2013 Dona Maria (spoken word: tracks 1, 7)
\u2013 Fl\u00e1vio Dourado (vocals: track 3)
\u2013 Pedrito Hildebrando (vocals: track 2, 6)<\/p>\n

\n\tRelated\n<\/p>\n