WatainThe Agony & Ecstasy of Watain

Watain have always held true to their vision of unadorned raw riffing that takes its influences from the first wave of black metal.

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Their seventh album shows some new nuances that deviate slightly from their old-school mission of grimness and Stygian gloom, and there are surprising moments where light shines through.

Agony and ecstasy is very much an appropriate title here, as Watain go their deepest yet into esoteric diabolism and Gnosticism. There’s also a stylish flair and inherent catchiness in their assault that lifts it above some of their previous work. Ecstasies in Night Infinite foreshadows the malice and savagery of what’s to come with buzzing guitars and blastbeat mayhem, with The Howling taking things up a notch. The wonderfully-named Black Cunt rings with the echoes of Dissection, Leper’s Grace brings in a thick bass throb that seems counter-intuitive to Watain’s dedication to the old school. 

Watain is making a new statement of malevolence and violence with The Agony and Ecstasy … All fans of black metal should be taking notes.

Serimosa is where Watain first pulls it back, switching gear to a grinding mid-tempo onslaught where outbursts of melody wrestle with Erik Danielsson’s harsh, flinty vocals. We Remain is a revelation, haunting and sinister with guest vocalist Farida Lemouchi adding an ethereal touch as the track spirals into the pandemonium delivered upon us with Funeral Winter and Septentrion. Watain is making a new statement of malevolence and violence with The Agony and Ecstasy … All fans of black metal should be taking notes.

STANDOUT TRACKS: Serimosa, Before the Cataclysm, We Remain
STICK THIS NEXT TO: Dissection, Bathory, Darkthrone