According to J Bor it goes back at least to the 16th century .
" Some believe it is a mixture of Gaud and Hamir " . ( quoting ancient scriptures , probably old versions of the raag ) .

Tanarang gives some constituent angas :

S m R P (Malhar Ang); R R P G m P G m R S (Kamod Ang); M P D P (Kedar Ang) ; G m D D P (Hameer Ang); G m P G m R S (Kamod Ang); P D P S' S' R' S' (Chhayanut Ang); S' R' S' S' D D P (Kalyan Ang) ; M P D M P ; G m P G m R S .

Autrim :
"In Kamod, undue emphasis on Ni and sharp Ma should be avoided to keep it distinct from rag Shyam kalyan and Shuddha sarang.

The movement M P /S for approaching high Sa is common for Gaud sarang (vide), Chhayanat (vide), Kedar (vide) and Kamod (vide). Therefore, care should be taken to avoid drifting into another rag. Kamod is distinct from rag Tilak kamod . "

Meetkalakar :
"Raga Kamod is raga Deepak's wife i.e, Kamod is ragini.

Omkarnath ji says that it should be sung after Kalyan, Bihag, Hamir etc. and before Kedar because 'Sa-ma' vowel accompaniment of Kedar indicates the calm, serious atmosphere of the night, Sa Sa-ma's vowels remain hair ( ? ) in the night. And as the night progresses, Rishabh Pancham will become less and eventually disappear and Gandhara, Dhaivat and Nishad will lose their intensity and become soft. "

https://www.youtube.com/watch?v=y_PjbArrUYo - Ud Rashid Khan - Kaare jaane na doongi

https://www.youtube.com/watch?v=AuyEpsN1f14 - Pt A Chakraborty - drut + tarana at the end .