Watain – Reaping Death (2016)

Article by David Rosales.

I. Where is the music?

It is very rare to find a general fan of black metal today who has not at least heard of the name of Watain. The kind of fame it has attained, however, is the kind that is mostly based on peripheral affairs rather than the art which Watain is supposed to dedicate itself to. Watain is the kind of ‘entity’ (as most of these bands are now given to call themselves) that is surrounded by a nebulous aura which may at first, if one is inclined to be generous in providing the benefit of the doubt, seem like an hint of something truly profound going on. Now, whether that is the case in regards to the real, transcendent or philosophical knowledge or experience of the people behind Watain is not for the writer to say. On the other hand, the music itself does not seem to display any of the more-than-human qualities it should if one is to believe all the hype. In fact, it reveals itself as a very mundane affair when one is given to delve into a holistic examination of the music in itself, and even more so when seen in relation to the extra-musical portions of the ‘entity’.

Let us clarify this by taking a moment to evaluate the situation. When an artist is famous because of what he does as such, the first thing on people’s mouths will be something related to that. In the case of technique-obsessed instrumentalists, no time will be lost before mention is made of the speed or skill on the instrument of this or that performer, or of the outstanding ‘tightness’ of an ensemble, for instance. When it comes to the luminaries of the early black metal phenomenon, namely Darkthrone and Burzum, people may at first either briefly talk about the personality of Fenriz in the case of the former, or completely digress in self-righteous moral judgement in the case of the latter. Barring these, the subject matter when talking about Darkthrone and Burzum will always be their music in one way or another, depending on the degree of musical and philosophical understanding of the person. This contrasts with what we see with bands like Mayhem, whose fame is almost entirely based on ‘street cred’, and the violent implication of the deaths of two of its members by suicide and murder. Can we avoid finding a parallel here with the likes of Nirvana?

The case of Watain is more alarming yet than that of Mayhem‘s. While Erik Danielsson is clearly a Euronymous 2.0 who has gotten rid of the Communist talk and has stepped up in the creation of a hilariously over-the-top persona, he has also managed to turn angsty teenager pretension into a successful business model. With a knowledge of Nazarene occultism of an inverted nature, he imbues his speech with references to other-worldly concerns1 while acting as a eccentric youth (despite his actual age) with anger management issues, leading some (usually normies) who encounter him to be fascinated by his “dangerous aura”. Not only do people around Watain wander around the conversation before getting to the topic of the music itself, if ever at all, but the band members themselves also actively contribute to this evasion of the topic, perhaps fearing being outed as shams, or inwardly sensing that the whole point of Watain has nothing to do with music, thence the fact that there is nothing to be seen or discussed.

In fact, what is precisely claimed is that the music can only be experienced, but that there is no point in talking about it, a philosophical stance that is at least in part justified. Given that music can be delved into systematically by is very organized nature, the excuse reveals a paper-thin posturing aimed at protecting the feelings of those who simply ‘like’ the momentary feeling of random rock music with an occult theme at its center. The increasing messy and incoherent musical expression that Watain embraces as time goes by is stressed as a religious view of the entropy of the universe as a reuniting with a deity in the principle of chaos. Whatever the reader may make of this theological and dogmatic stance, one can see how the emphasis is yet again shifted from a responsibility to produce musical quality, to a posturing as messiahs or prophets of the fatalistic type of nihilism that reigns supreme among the disillusioned, educated bulk of homo hubris that is completely lacking even a hint of the heroic mentality that is truly transcendent.

II. A Musical Failure

So, what do we actually see when we get down to the music of Watain? Do we see ravaging orthodox music obsessing over destruction and annihilation of the weak? That would speak of the ideals of mythical heroism that metal aspires to in its heart of hearts in its most extreme form. Are we, at least, shown the pretentious and vain experimentalism of later Abigor that nonetheless continue to speak their minds through expertly crafted, though inherently flawed, music? This would place Watain in the same category as superior craftsmen with a confused mind.

Watain displays a follower mentality, never having actually found a sound of their own, an artistic voice, though jumping into the Mayhem bandwagon early on. They made up for this lack of voice by claiming a lack of voice, a chaotic mess of no personality or music, as a voice and personality in itself.

While their first album, Rabid Death’s Curse was clear De Mysteriis Dom Sathanas2 worship, the follow-up in Casus Luciferi3 made the best attempt yet by Watain in trying their hand at an Abigor-styled shock-and-pass black metal with a theatrical meta-narrative that holds up on the consistent succession of emotional impressions the music leaves but has little else to offer besides.

With Sworn to the Dark a decline is noticeable to those with an ear for music, but not to those enamoured of the feeling of the mystery and extra-musical allusions over anything else. The music here still has a manner of stylistic coherence, not in the manner of narrative but simply of a repetition of the same genre tropes with technical distractions here and there. A transition from an almost-developed black metal musical style to a meta-black hard rock after the manner of Samael was started with this third album.

Lawless Darkness saw the explosion and revelation of all that was contradictory in this attitude. Songs here, more than ever before, had a generic rock anthem feel to them that echoed the equally generic, yet even more empty and vain Reinkaos by Dissection. However, there is also the introduction of the party rock component that was only a hint in Sworn to the Dark. Grinding black metal alla late (and failed) Anthaeus gets haphazardly juxtaposed with the rock anthem and party rock parts. The methodology since Casus Luciferi has not really changed, but, being blind to the musical limits of style and their choice of method, they introduced elements that make this more of a circus comedy than a musical composition.

The comedy reaches unbelievable levels of stupidity in The Wild Hunt, which goes back to that Samael influence, without the control and restraint that the older band showed when they produced Worship Him. Instead, the circus mess of Watain penetrates its methodology beyond riff organization and infects riff-form itself, making them often sound awkward or just outright laughable in their character. This ridiculousness ends up mirroring the likes of Rob Zombie’s Hellbilly Deluxe to an astounding degree.

The last single, Reaping Death, is essentially generic beer metal with black metal vocals. We can still see the anthem rock points being used as anchors for crowd-pleasing moments. Here, they even managed to fuck up a cover of Bathory‘s ‘The Return of Darkness and Evil’, making it sound less dangerous and more palatable for those with a sweeter taste and an inclination towards head-banging. The core of this act seems to have devolved from semi-musical pretentiousness to unabashed occult-pandering business.

Watain is not short of technical skill, as can be shown by their abundant and flawless performance both live and in the studio. Nevertheless, and as a knowledgeable and insightful acquaintance commented in regards to the music of Watain, what makes the illusion so strong is that the band actually comes up with very good riffs and has a convincing basic musical presentation/expression as per black metal tradition. The illusion breaks apart when one pays attention to continuity, context and pattern as language. Watain knows how to “rock” for an audience, but it does not really match their alluded occult depth to a compositional seriousness that produces black metal of any worth.

III. Compromised Bases in Ideology

Watain and its acolytes typically defend their substandard music by claiming that the band is more than just about music; that they do not care for any kind of rules; that the music speaks for itself. These are clear teenager-styled excuses that contradict each other, and the basis of which is more emotional and self-indulging than rational or coherent in any way. Satanism of this type, which some would call pseudo-Satanism, is more closely the immature offspring of the centuries-old Jewish Qabbalistic mysticism; and rather than opposing the most occult teachings and workings of Occult Judaism, it carries them out in explicit and childishly, and thus pointless, rebelliousness.

The most distinct problem with chaos-evoking music of this type is that, while it claims to be emulating the object of their worship (namely, Chaos itself as some metaphysical conception or some concrete reality, depending on who you ask), it disregards the foundations of music itself. Music was made to evoke feelings, vistas, concepts, et cetera; but this nu-black chaos music attempts to somehow be chaos incarnate, which becomes an oxymoron when making music as it is ideally tantamount to playing at random —the complete opposite of organised sound.

In short, you cannot communicate by not communicating. What we see here is rather a repetition and an echo of the modernist disavowal of all rules for abstractions and concepts. Explanations that come to speak for the music, while the music itself is only a symbolic placeholder that produces a shocking emotion but attains meaning by virtue of extra-musical contributions.

1 To be fair, many of the lyrics of Watain are exquisitely catharthic in their devotional intensity and dense symbology, which would hint at a personal experience rather than mere theoretical study of the subject matter.
2 This the beginner’s black metal album par excellence: shallow but aesthetically pleasing.
3 Read another review of Casus Luciferi at the Praefuscus Ferrum webzine.

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56 thoughts on “Watain – Reaping Death (2016)”

  1. sedsu says:

    Reaping Death is actually a song from Lawless Darkness … how many times have you listened to the albums before making this comprehensive review and definitive judgement on their whole musical catalogue?

    1. David Rosales says:

      Let’s indulge your complaint…

      Discernment is not (only) based on how many times you listened to something, nor is that the most pertinent factor.
      More relevant are the following: (i) how you listened to it; (ii) previous experience with the genre; and (iii)the depth of the music itself in terms of its concrete and precisely defined aesthetic (these are observable properties, not constructs or abstractions, and as such are independent of the lingo used but subservient to the same natural universe of laws).

      Watain is or is not black metal.
      It may or may not be music at all.
      Black metal, though, is
      Music is organised sound.

      If Watain is not music but “spiritual noise” (as Danielsson has actually alluded to in at least one interview), or ritual ambience, then my evaluation need not bother you.

      The fact remains that as music (and more specifically, as black metal) it is subpar in quality and commonplace in its presentation.

      Its presentation being commonplace means that a person that is deeply familiar with such musical language (i.e. the genre and style language of black metal which they choose to utilise) can easily go straight to the particularities and variations Watain has to offer, thus reducing the number of repetitions, and the time needed for consideration, for a prudent and knowledgeable assessment to be provided.

      Late Watain in particular offers absolutely nothing of its own except its personal touch in haphazard juxtapositions. The rest is merely momentary, run-of-the-mill hard rock candy with some blasting here, cool vocals and the occasional middling guitar show off.

      Easy to sense, easy to break down after that.
      Nothing special.


        >“spiritual noise” (as Danielsson has actually alluded to in at least one interview)

        haha what

        yup, Watain is “spiritual noise” that coincidentally happens to sound like it’s deeply entrenched in cock rock and black metal cliche. it might sound that way but that’s actually just A CHAOTIC ILLUSION!

      2. sedsu says:

        Thank you for the explanation.

      3. Rainer Weikusat says:

        run-of-the-mill hard rock candy with some blasting here

        Calling this »Blastbeat Bon Jovi« might more appropriate. That’s also ‘hard rock’ of sorts. Better example of a lesser known band:



    The biggest falses in black metal right now. Watain feels like a bunch of homosexual hairstylists hired some prettyboys and put together a black metal boy band based on brief exposure to a few Mayhem and Dissection songs/photoshoots.

    About the lyrics, I see it as pretty much the same as that orthodox BM fad: a fundamental misunderstanding of why the old scene was so attracted to horror schlock and Satan. It was all symbolic, but the new bands can’t think deeper than articulating the symbols in a more professional way. It’s like a polished Hollywood remake of a low budget 70s horror movie, it completely misses the point and the soul.

  3. Watain is like Dissection if they sucked and had zero talent.

  4. David Rosales says:

    If one wants the Void or Chaos, better listen to something like Bestia Centauri’s The Self Immolation Rite.

  5. Transsexual Satyr says:

    Mayhem made emo.

  6. Matt Risnes says:

    I heard so much about their live act being akin to a ritual, then saw them live and was bored to pieces. Their music is a concerted effort to assist normies in developing an ear to pick out the melody within blast beat segments. It’s purely pandering, a ploy to broaden the audience for this type of music and fatten their wallets. Their albums and live show are total dullsville in my opinion. They are if Metallica’s Black album was a black metal band. Which is to say, big, overproduced, full of itself and entirely awful.

  7. Morbideathscream says:

    Watain has always struck me as mediocre at best and horribly overrated. I remember seeing them on the Antichrist vansguard tour in 2007. Yeah they had real dead animals blood on them, but the only memorable part of their set was their Dissection covers. I thought they were overhyped even back then. Angelcorpse and Negative Plane blew watain out of the water on that tour. Now Watain have pretty much become the Swedish cradle of filth. I don’t know how people compare them to Bathory. Watain and Bathory do not belong in the same sentence, the only thing those 2 bands have in common is that they are from the same country.



    Diamond Head – Diamond Head (2016)

  9. Old and into Sarcofago says:

    Music is terrible,and has been done a thousand times better by a thousand other bands… imagery is contrived and calculated to appeal to mall goths with lip rings .,and how the fuck can Erik be “scary and dangerous at a mere 5” in height…would be funny to see an actual adult male swing a haymaker into his sternum and hear his desperate pleas to Satan for help

  10. Cynical says:

    A bit of a side point, but I don’t really agree on “Rabid Death’s Curse” being a “De Mysteriis Dom Sathanas” clone. With the exception of “Mortem Sibi Conscicere”, it’s not built on the kind of long flowing melodies that DMDS is, but rather on a more speed metal base, with a lot of percussive three and four chord riffs. It sounds a lot more influenced by Gorgoroth’s “Antichrist” and “Under the Sign of Hell” to me.

    1. David Rosales says:

      Worship not clone.
      There’s a difference.

    2. Rabid Death’s Curse sounds like the Dodheimsgard album from a few years before.

      Black metal died in 1994… let it rest.

      1. Robert says:

        Brett, don’t you like Dark Funeral, Marduk and Sacramentum albums?

      2. David Rosales says:

        As a ‘movement’, it did. It does not mean outstanding acts cannot continue to make good music.
        What matters is that the artist connects with that essence. Black metal is/was not tied to a social circle or time per se, but rather to a post modernist expression of transcendentalism, an occult inclination and an individualist stance. The conditions have not passed or changed so that “black metal is dead”. What you have is a bunch of garbage and distraction. Just remember that you won’t find black metal in polished productions and big labels, that’s all. The conditions for black metal are still there.

        1. Necronomeconomist says:

          It somehow catches my eye that you write of “the conditions”.
          That reminds me of Marx’s dialectical materialism — that societies and ideologies develop from material conditions (I think the relationships between modes of production [owner/worker]). In turn, if memory serves, this is to contradict Hegel’s dialectic of ideas.

          Then again, I haven’t studied that stuff since like ’98.
          Still… it’s cool to contemplate how black metal arose from specific,historic material conditions.

          1. David Rosales says:

            By conditions… I mean much more than just the material ones!
            Black metal is strange phenomenon, the more you look at it… more than a group culture it is an individual attitude, state of mind, and other, uh, conditions.
            It is necessarily occultist, in a sense, but it’s hard to explain right away.
            At least that is what I can discern at the moment, although it may be difficult to explain.

            Throw away Marx in this. Think about Evola. Even better, think about obsessed cultists, real “demented” ones.

            1. Reactionary Reasons says:

              BM could also be said to channel our “Faustian spirit”. Or — if you feel so inclined — be interpreted as pertaining to Jung’s idea of the summoning of the Odin/Wotan archetype from the collective unconscious. Albeit as but a short burst.

              Nevertheless, Marxist theory does not and consequently need not apply.

            2. Necronomeconomist says:

              Haha, I DO think about the real demented ones, and it boggles me that these guys could ever socialise/organise enough to have a band, compose/rehearse together, gather funds for recording, get sign to a (small) label, etc.

  11. Rainer Weikusat says:

    Mayhem is really two bands (one could argue for three): A Euronymous/ Dead/ Necrobutcher/ Hellhammer outfit only known because of a couple of bootlegs recorded during their few public concerts and then, the successful ‘black metal musical touring band’ the two still living members of this quartet put together after Asareth’s death. Neither of both recorded “De Mysteriis Dom Sathanas”, it was conceived by Mayhem I and executed by some “headless body still twitching” ensemble of Euronymous, Hellhammer and whoever else was (still) willing to work with the former at that time.

    There’s also some qualitative difference between professional (and commercially successful) play-acting and someone driven out of his wits (to some degree at least) by the very graphic side and certainly unintended side effects of his own actions.

  12. Vigilance says:

    Bean burritos are the games I play cause mummy didn’t feed me the right way
    My ass is bloody only believe in pizza
    Spit out cola, laughing at memes I get

    Gas breather
    Ass and breath, ate taco bell
    I am an only child, attack with smell

    I turn smiles upside down
    My sight makes women frown
    My mornings begins at midday twelve
    Masterbate till 5am should kill myself

    Gas breather
    Ass and breath, ate taco bell
    I am an only child, attack with smell

    I love to taste my own cum
    My sin is a war against my own mum
    I talk to autists all night
    Avoid love and amass piss in a room with little light

    Gas breather
    Ass and breath, ate taco bell
    I am an only child, attack with smell

    1. this trip is turning into a bit letdown says:


  13. OliveFox says:

    I am simply taken aback that there is this much to say about such a mediocre band. Are they “popular” and I just never realized it? I will consult my little sister and see where they rank on the “hip” scale for early 20-somethings roaming around college campuses overusing the term “Love-craftian.”

  14. 1349 says:

    Office hamster black rock?
    Slipknot + late Megadeth?
    Why even bother writing about them?
    There are thousands of mellow-deaf bands that are artistically (if not technique-wise) close to this shit. Let’s review all of them now…
    There is no such thing as ‘bad publicity’. Don’t give these idiots any promotion. Kidnap and kill them silently in the night, as Stalin’s thugs did. =)

    1. Pelagius says:

      Let’s get rid of this plague as the Russian Tsars should’ve done from inception with the Bolshevik sickness.

      1. 1349 says:

        The last Russian tsars were losers, I’ve no sympathy for them. Stalin shot half of the initial bolsheviks, however, and did much of what the tsars should have done before him.

        1. Nicholas, Lenin, Stalin, and Khrushchev ruined Russia’s traditional economy worse than the Time of Troubles ever could hope to do. Russia was slowly modernizing pre World War I by agricultural exports funding industrialization. Russia was the largest agricultural exporter in Europe despite its inefficiency and this is the path that almost all successfully industrialized states have taken to go from textiles manufacturing to light industry to heavy industry: the UK, US, France, Germany, Japan, South Korea, Taiwan, Deng Xiaoping’s PRC, and Southeast Asian states. Communism jumps the gun, using the state monopoly on force to steal commodities from the people and develop means of industrial production to develop heavy industry that inefficiently makes useless crap nobody actually wants but materiel for the state’s armed forces. Since nobody who has a choice will buy the bullshit Communist economies churn out and the agricultural society and industry is destroyed, they’re totally fucked as nobody really works as nobody is really paid and there is nothing to buy but crap if there is anything even on the shelves at all. Nicholas brought Russian peasant culture to its knees, Lenin and Trotsky stole their livelihood, Stalin raped the Ukraine, and Khrushchev Central Asia. When they were done, there was nowhere left to grow anything and the USSR became a doomed socialist petrostate.

          1. 1349 says:

            Wow, there are so many specialists in the Russian question!! =)
            I live around here, 200 km west of Russia, so i have little need in explanations and interpretations. (Although outside opinions are interesting sometimes.)

            Slow industrialization was not an option because Russia was seriously lagging behind technologically. You can’t be sovereign for long if your rivals have heavy industry while you’re still a peasant nation. Given the situation at the moment of coming to power, Stalin’s actions were probably the best one could do.
            “Stalin raping Ukraine” is a liberal myth.

            “Nicholas brought Russian peasant culture to its knees, Lenin and Trotsky stole their livelihood, Stalin raped the Ukraine, and Khrushchev Central Asia.”
            Emotions, emotions of a contemporary Russian liberal.
            No bolsheviks or other external power/scapegoat would ever be able to make a revolution in Russia if everything were really OK there. Late Russian empire wasn’t OK, it was weak and sick. Its social, national and economic policies failed. The political class was impotent. Someone had to propose solutions, a project of the future. Bolsheviks won this contest.

            The USSR was actually an exporter of agricultural and industrial products in the times after Stalin. The USSR collapsed because Slavs are generally untermenschen and thus rarely give birth to good leaders. We only have occasional good leaders; when an occasional good leader dies, we’re screwed until another one suddenly appears.

  15. Rainer Weikusat says:

    Heroes of old used to slay dragons, not stomp on field mice.

    For reasons outside of my control, I’m now in possession of a Dawn of Possession copy. I hope it’s going to be something. Had preferred Incantation.

    1. Rainer Weikusat says:

      “Das war nix”.

      1. Rainer Weikusat says:

        A second (sober) attempt got me to the 9th track before I had to abort it to avoid succumbing to the increasing urge to murder the lead player to stop him from soloing.

        Setting a perspective: This is ably executed and skillfully composed. In this respect, I’d intuitively put this above ‘early Gorguts’ and a few galaxies in front of Gorefest. The end-result is nevertheless “won’t listen to this again”.

        Throughout the album, there are good parts where the riffing talks as it ought to for the style but that’s countered by an overwhelming number of not-so-good ones, some of which may be due to ‘unfortunate circumstances’: Judging from the liner notes, the band lost its drummer on short notice before recording this and this shows: Smilowski’s playing is proficient but too subdued and too little an active part of the tracks. The vocals are too much in the foreground and fail to convey anything but »wicked uncle Ernie with a sore throat«.

        Sometimes the riffs and riff-development are great but sometimes, they aren’t. Specifically, the 5th track seems like a bunch of Persecution Mania-era Sodom riffs glued together with technical flim-flam. That’s going to ‘work’ for people who consider Sodom below them because they won’t know them already but not necessarily if this isn’t the case. The guitar leads are by far the worst part. They fail to communicate anything beyond the abilities of the player, turning them into a self-indulgent, repeating annoyance.

        The overall mood – I’d describe this is “superior background weirdness” – is also at odds with me. The “black male devil reaching to grope the butt of a white, female angel” on the cover has stopped me from buying this for a long time: I’m forced to see more so-disposed guys showing this off with their equally exhibitionist female partners IRL already, I don’t additionally want this artistically. YMMV.

        1. ODB says:

          You need to shut the fuck up. Seriously, shut the fuck up.

          1. Rainer Weikusat says:

            I shouldn’t have bought this as the Immolation lead guitar player has been getting onto my nerves as »technical trickster« ever since I first encountered the band and probably also because the “man creature in sexualised pose with women creature”-cover – odd for a death metal band – should have warned me off.

            Regardless of that, you should find a better way to handle opposing opinions than attacking the people who utter them. For instance, describing why this is a great album. That probably wouldn’t convince me but certainly someone. At least, it would communicate that someone is positively passionate about this and not just disposed to stone people because they said “Jehova!” in public.

            1. Jerry Hauppa says:

              I don’t think he lashed out because of a difference of opinion, but more how you handle your presence on this board in general. Remember how that one poster said everything you say is crap? Well, it’s because you seemingly post anything you think without regard to what you should say in the course of a discussion in a bizarre, stream-of-consciousness flow of excessive pedantry that often either entirely derails, has no relevance to the topic at hand (why are we talking about Immolation here?) or devolves into a display of posturing that no one asked for (do we care that you hate prog? Why do you care that we might?)
              This, coupled with your deliberate attempts to avoid real conversation or argument make your contributions here quite irritating.

              1. Roger says:

                It’s called AUTISM

                1. Jerry Hauppa says:

                  See, now that sucks too. Despite the fact that due to the egos here no argument on this site is actually winnable, you may gain respect if you display the understanding of HOW to argue. Regardless of whether or not I agree with you, I’ve dissected a line of reasoning for why Rainer is fucking cumbersome to listen to, and you of course went for the meme insult of the month. If it wasn’t for pop culture bandwagonism, would you have a verbal leg to stand on on this site? The important thing in argument is to show someone why they are an idiot, and a baseless groupthink insult is high school behavior in the face of analytical thinking. Try harder, flesh out your own thought process, and show that you WANT to win a debate, because yielding to not only personal insults but the modern catchphrase-of-the-day is NOT an argument.

                  1. Varg Overreacts to Big Cat Cock says:

                    Roger should show you his special go-to autism .gif. It’s his awesome coup d’etat.

                    1. Roger is a dumbass but he's right about Rainer says:

                      It’s his not-so-secret weapon.

    2. Necronomeconomist says:

      Now you’re a mere Pawn of Decession.

      Nevertheless, you sound baked.

    3. OliveFox says:

      Onward to Golgotha is far superior to any specific Immolation album, but there is little denying that Immolation had one hell of a stretch of fantastic albums.

      I suppose the more distressing point is your lack of agency in what music you possess, but if albums like Dawn of Possession are falling into your lap, I guess you could do worse.

      Either way, don’t knock stomping on field mice until you try it.

      1. Morbideathscream says:

        I have the opposite opinion haha.

        Incantation had more good albums, I like them up to and including Diabolical Conquest, but Dawn of possession is superior to any Incantation album although Onward to Golgotha is not far behind it. Here In After was the last good Immolation album and all the releases they had afterwards are mediocre and overrated.

        1. OliveFox says:

          I guess they both had pretty similar trajectories as far as to when they became irrelevant. Basically late 90s. Though Close to a World still has it’s supporters. I like Daniel Corchado, but I don’t think the content on Diabolical Conquest was up to snuff.

          Dawn v Onward would be a cool little comparison piece. Both fucking rule. Honestly, give me those two albums, first 2 Gorguts, First 2 Deicide, Alters, and a case of Talisker. I’ll be in death metal heaven for weeks.

          Oh, shit. I have ALL OF THOSE THINGS! Life ain’t so bad after all.

      2. Rainer Weikusat says:

        I suppose the more distressing point is your lack of agency in what music you possess, but if albums like Dawn of Possession are falling into your lap, I guess you could do worse.

        It didn’t exactly »fall in my lap«, it sat ignored on a shelf in the local HMV for a long time I scan/ scanned a couple of times per month to look for more interesting things (Local shops are good, even if chain-stores. One ought to by some stuff from them), either something newer I had read of or one of the few old releases I’d really like to have (specifically, Under A Funeral Moon and Onward to Golgatha ATM). I had an hour-long internet outage yesterday stopping me from working and bought it out of frustration on the grounds that the only other candiate was Altars of Madness which I already knew. TSJuder and Taake also caught my attention but I wisely decided to stay away from both until I had a look at them. The first seems to be an ok-but-not-good Norwegian black metal band and the second a clear “rather not”.

        I generally buy stuff because ‘short listening’ suggest it’s interesting enough to warrant a closer look. Over time, most of this falls by the wayside. Some things stay for weeks or months, some for years. But ultimatively, anything wears off, regardless of how good it is. OTOH, I want music to be recorded and performed, hence, I have to put money into this, miniscule as the individual amount may be: It’s better to buy a dud every once in a while (or something one simply doesn’t like) than to restrict oneself to complaining about ‘the times’, ‘all the crap’ etc.

        Either way, don’t knock stomping on field mice until you try it.

        That was an allusion to the idea of “heroically” annihilating the week: At best, that’s pest control, necessary but certainly not heroic, but probably more often, it’s a mixture of sadism and cowardice: Tormenting others make one feel pleasantly superior. But targetting people of one’s own size and/ or social standing is risky. Contrast this this Nietzsche’s “I only attack winners [I disaprove of]. If necessary, I wait until they have won”.

        1. OliveFox says:

          I don’t know what the fuck HMV is, but NOW your buying Dawn of Possession out of frustration!? Damn, I really hope you like it, sounds like it was a huge ordeal to get a proven classic into your collection.

          If you are short on cash, fuck any new black metal releases. So hit or miss with an emphasis on MISS. And, really, how many great black metal albums are there? Maybe 10 “must owns.” Brett is right, let Black Metal die.

          Build up library with classic death metal, stat!

  16. Hail Pain says:

    I was reading a French interview with the Blut aus Nord guy recently and at one point he dismisses Watain and their ilk as “angry pop music”. My opinions vary on the quality of BaN material, but his elitist stance and that comment in particular made the whole thing quite entertaining.

    1. OliveFox says:

      Blut aus Nord’s crime is that they are utterly boring and have stretched maybe 2 or 3 passably interesting musical ideas over waaaaaay to many albums. I suppose he is right about Watain though.

      In short, both suck, but for different reasons.

  17. Pelagius says:

    Most who profess to be Satanists cannot see very far – they cannot reason, coldly and unemotionally and deeply.

    —from The Satanic Letters of Stephen Brown, Vol. I, first letter addressed to a ‘Ms. Vera’

  18. Pelagius says:

    What has happened is that this foundation, this hard foundation, is lacking in nearly all modern ‘Satanists’ – they are too soft, have not been toughened, they rely too much on the comforts of society, on what others (like Aquino et al) have given them in terms of principles, beliefs, dogma and so on.

    —from The Satanic Letters of Stephen Brown, Vol. I, 4th page of the first letter addressed to a ‘Ms. Vera’

  19. SatanismIsForJews says:

    Erik’s real idol in life is Axl Rose (no, I’m not kidding). I used to like them, before I saw the under current of cock rock beneath them and yes, mediocre music. Some of Erik’s comments, like his wanting to pay junkies for their dogs to “drain” of blood are a little too much. Oddly, few of the PC warriors ever challenged them on the openly encouragement and bragging about animal cruelty. Rather acting memorized by it. How much of it is reality or not, I am not sure. I’ve heard stories of them cornering a cat and kicking it to death. Yet behind the evil act, they come off like WASP or Venom. I will say I know most die-hard Watain fans are females. The kind who’d follow glam bands from town to town.

    I will also say I know they have in the past felt the need to prove how “real” they are by being absolutely disgusting to people.

    Secondly, if you really want to destroy the planet earth and usher in it’s destruction, you would form leftist human rights groups or become a banker.

    1. Kvädare says:

      They sound rather degenerate, like a group of nidings who like that black metal is evil and doesn’t follow rules, but for low reasons.

      1. Kvädare says:

        I haven’t heard the music, but this behavior sounds like blackened glam.
        Fucking random women and doing drugs, killing animals and blaspheming for fun; both rivers run from the same mountain of low minded hedonism.

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