WatainI think it is fair to say this is probably the most highly anticipated black metal release of the year especially as it is three years since the last epic album ‘Lawless Darkness’ saw the light! Watain are an enigma and a band that you simply cannot ignore in extreme metal circles. You may not like them, indeed many do not but they are there and have proved themselves both on stage with their stinking blood soaked shows and on album with their cloying sense of occult malevolence. The trio of E, P and H are followed by a sense of infamy that continues adding a certain mystique about the whole dangerous persona of the genre. This is one that you may well take with a pinch of salt but it is not one crafted by the band and the media but one that follows them without need of exaggeration or publicity. Put simply they are one of the real groups who practice what they preach and walk the talk amidst a sea of poseurs and pantomime clowns dabbling with image and pretension with little in the way of any consequence.

Album number five has seen the band move from Season Of Mist to Century Media. As to whether the contract was forged in blood is uncertain but I would expect it was spilled somewhere down the line. There are some surprises to be found here and it is wise not to enter ‘The Wild Hunt’ expecting any preconceived formula, each album is best looked upon as  a dark journey and this one is as dense and at times as obtuse as the somewhat cluttered album art suggests. Opening instrumental ‘Night Vision’ installs the darkness and could be seen as a continuation from the epic funeral epitaph ‘Waters Of Ain.’ It is gloomy, crepuscular and melodic, glimmering with shards of thorny guitar work proffering hidden treasure to come. Mood enhanced it is time for an explosion and this literally arrives with a massive pyrotechnic force that is designed to be utilised live (and no doubt shower me in bastard pigs blood again) as ‘De Profundis’ cataclysmically cleaves in. This is a short sharp and brutal shocker with weaving guitar scythes and rabid, gibbering vocal barks. Plenty of anger and aggression behind this classic song title and it really goes for the throat. ‘Black Flames March’ slows and gets into a devilish groove which enigmatically enchants and possesses the listener. The melody is rich and E elongates his vocals in a theatrical fashion as some backing shouts stomp heavily over the sulphurous swagger of the number.

‘All That May Bleed’ was chosen as the single and has a pompous marching opening before flowing into a mid-paced affair with quaking, shaking riffs and vocals which sound like a dreadful and blasphemous sermon quite in line with the enlightening lyrics. At just over 4 minutes it’s the perfect length for a nice slab of thick black vinyl too. ‘They Rode On’ sees the band really opening up and doing something many would have not expected, essentially a ballad with clean vocals. Trends be damned and the same with expectations as it sees a grandiose and majestic ode to darkness unveiled. It gives E the chance to show another dimension and one that he has no problem not only proving himself adept at but actually excels in the process. I found myself pretty much hooked on this number and personally had no problem accepting it even on first listen. I think it is fair to say that there is a certain quality that is reminiscent of Fields Of the Nephilim about it and as ‘Waters…’ proved theirs is a darkness the band accept. The gorgeous flowing guitar leads and dare I say soulful vocals really win over and I can’t wait to witness this live, although wonder if it is going to be a number unveiled on just the special occasion. Naturally it does probably need following up with a barrage of violence as a contrast and this is dished up by the deathly dash of ‘Sleepless Evil’ a vile and violent discourse with a nightmarish slow hallucinatory part before it tosses and turns in the grip of mania just like a night invaded by thoughts that will not allow any respite.

The title track itself is a bit understated, slow burning and reflective. It again shows that darkness does not have to be all about the hate and anger as it draws you into its myriad depths with poise and precision. It also makes it clear that the clean vocals are not a one off and is bound to be another contentious number; yes that really was a splash of flamenco guitar! Outlaw is another odd one in completely different ways, the guitar contortions sound somewhat familiar although I can’t quite place them and it has a tribal feel about the rolling drumming and back chanting.

The Wild Hunt is definitely not an atypical Watain album but then again what is? For me the formula that they really perfected by ‘Sworn To The Dark’ has evolved tenfold by now, the band have grown and are exploring otherwise uncharted territories. That is not to say they have in any way sold out as they are doing it on their own terms and there is no way anyone could possibly interfere in this or sway them from their true path. By final track ‘Holocaust Dawn’ a Mardukian title and a half with a sense of the macabre and carnivalesque about it, we have been put through our paces and looked into the darkness of over an hours-worth of expansive music. Is this Watain’s ultimate edifice? Nope just another chapter in what one hopes will continue to be written if the force of chaos does not ultimately prevail!

(8.5/10 Pete Woods)

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