Watain - The Wild Hunt

Esperaremos con paciencia al solsticio de verano ese tan famoso.

Con paciencia y con palote.

Esperaremos con paciencia al solsticio de verano ese tan famoso.

Con paciencia y con palote.

jajaja algún día me perdonarás, pero tenía que hacerlo...





CON PACIENCIA Y PALOTE

Spoiler: Mostrar

A mi que me parecen unos softs y el jolochismo pura parafernalia. Disfrutad!

A mi que me parecen unos softs y el jolochismo pura parafernalia. Disfrutad!

A mi que me parecen unos softs y el jolochismo pura parafernalia. Disfrutad!

A mi que me parecen unos softs y el jolochismo pura parafernalia. Disfrutad!

Jolocho, te estás repitiendo, te vamos a mandar a un curso intensivo de buscar gifs.

Es que es el mejor gif de la historia, es lo que hay.

Pero venga, ba, INNOBO:





Ni aun así puedo acercarme a lo que he sentido al leer lo del jolochismo. Muy intenso. Y embarazoso.

En Decibel gustan de poner palotísimo al lector:

http://www.decibelmagazine.com/featured ... k-preview/

Track 1: “Night Vision”
Big slow intro build. Heavy metalesque segue, twin harmonic leads cutting the dirty distortion. Tympani drums signal the oncoming assault. Raw mix, up front, clear ’80s production. Lots of space, buried guitar solos. Chaotic.

Track 2: “De Profundis”
More direct, tremolo Swede vibe. Vocals feel like venom on skin. Could be a Sodom song—tight and riff simple—if it was done by a more musically adept Sarcofago. Then it goes into a Dissectionesque march, but still very much Watain. Triumphant mid-section. Very soundtrack-like.

Track 3. “Black Flames March”
The trademark Swedish tremolo riff returns. Windswept in feel but also evil and grimy. The mid-section breaks open, spacey and focused on a drum/vocal call and response. Nice solo transition into a rocking movement that could’ve been on Tormentor’s Anno Domini record.

Track 4. “All That May Bleed”
Reading the lyrics to this song as it plays gives it a new dimension. It rolls along, powerful and purposeful. Erik’s rolling the “r”, too. There’s a violent mid-section; feels like something out of South America but sounds like no one. The tight thrash riff that explodes out of the brief solo is Germanic. The amount of production “things” is also of note. Whether it’s the bubbling bass or background noises, there’s more here than a “song.” “All That May Bleed” is the 7-inch single.

Track 5: “The Child Must Die”
Very much in line with the black/death of Unanimated. Erik’s vocals clear and commanding, a sense of climatic danger. The drum production is of notice. Huge and impactful. The coruscating melodic guitar could be on a Mörk Gryning record, like Maelstrom Chaos. The rocking end, with the bass and guitar lines guiding the song to its inevitable resolution.

Track 6: “They Rode On”
Introspective. Singing! Very singer/songwriter. Pensive. Will surprise. Feels a bit like a Root song from The Book, without the Bohemian vibe. Or maybe something like Bay Laurel would do on Days of Joy. Very Swedish in mood. Great end of Side A track. Guitar work is fantastic. Feels like Erik’s invoked Quorthon. But this is very much individual. It’s a genuine song construction. The solo is fucking brilliant. Slow and melodic, lengthy it takes over before Erik’s vocals return.

Track 7: “Sleepless Evil”
Brutal. Some kind of nasty, barely unbridled version of German/South American death. The alternating tremolo guitar the only indication this song of Swedish origin. Horror movie piano break. Dynamic. Big production. Drums sound massive. Guitars churn. Thrashy break into a more black metal assault. Solos clash, break. Direct and uncompromising. Consider this a response to track 5.

Track 8: “Wild Hunt”
This is the single. To me. Ritualistic. Choir vocals. Sort of what Bathory did on Blood Fire Death. Dark, slow and melodic. There’s menace present but it’s an ancient menace. Something finally awake after a long slumber. Solo is great. Depressive yet engaging. Funeral march-like. Again, feels like Bathory on Hammerheart. Erik’s singing. A bit of a Pink Floyd feel. Outro is great. Big and reflective. Strange flamenco finale.

Track 9: “Outlaw”
Pulling in ancient voodoo/religious vibe. Unleashes hell. Fast, spitting black. Cool thrash solo, weird prog movement. Solo’s chaotic, wild, recalling the late ’80s. Oh, there’s a Maybe Voivod if they worshiped the devil and dined on the dead. Not evil just noisy and different. Voodoo vibe comes back. Maybe inspired by the Indiana Jones and the Temple of Doom soundtrack. Ends suddenly.

Track 10: “Ignem Veni Mittere”
Instrumental. A break. Shows Watain’s melodic side. An evil bit closes it out. They’re developing at a frightening pace. While one one hand, they’re brutal and uncompromising, on the other they’re nostalgic, reflective, and musical. The marriage of the two styles will surely bring more interesting things in the future.

Track 11: “Holocaust Dawn”
Brutal yet experimental. Choirs. Waltz part with tremolo guitars. Arabic section, with talking and atonal strings. Fast blasts dominate. This is Watain in 7-minute frame. This the past, the present, and future of Watain. Certainly, it’ll divide the purists, but the purists see only out of one eye. Sadly.

Y en la Metal Hammer también, aunque me fío más del criterio de la Decibel:

Here’s his track-by-track guide to the most eagerly anticipated extreme metal album of 2013…

NIGHT VISION
You’d expect an epic intro for Watain’s eagerly awaited follow-up to Lawless Darkenss, and the Swedes don’t disappoint, the instrumental opener’s initially delicate strings, cadences and strummed guitar invoking the sounds of approaching storms as rising drums, a searching guitar lead and undulating riffs provide a sweeping and gradually overwhelming initiation: atonal and awash in the kind of darkened atmospheres Watain have always excelled at.

DE PROFUNDIS
And then the shit hits the fan. A sudden storm erupts as Erik Danielson’s vocals take on an acerbic, harsh hue over pummelling and palpitating drums, before dipping into a sea of reverb and a classic Watain groove and then shifting off axis once more. This is elemental, powerful stuff, Erik’s urgent vocals sounding like he’s directing a storm while drums rise up to the fore. ‘Each mouth of Hell/Scream forth the rebel yell’ he chants, setting up a theme that will course throughout the album. The song falls back into its groove and explodes into primal khaos before it allows itself to wind down while you can imagine the heavens still shuddering in a state of shock.

BLACK FLAMES MARCH
Erik confides in advance that this is the song with the most ‘classic Watain sound’ on the album, and there are already suggestions that The Wild Hunt is going to be a departure. With lyrics written by live guitarist Set Teitan, Black Flames March still suggests that the Watain axis is shifting into new territory, and while there are moments of blighted radiance that are recognisable motifs, it seems less song-based than of yore, full of squalling guitars, stabbing and sawing riffs and a martial, pomp-filled interlude. At times Erik’s voice is less to the fore but he still sounds more possessed than ever, the fearless searching tone of Lawless Darkness calcifying into a furious and fiery prophecy.

ALL THAT MAY BLEED
The first single off of The Wild Hunt, and it’s hardly Watain at their most accessible. The twilit atmospheres you’d usually associate with the band have given way in favour of a more belligerent tone, the opening contorting riff and gruff vocals marking out Biblical lyrical territory – and the sacrilegious properties of bodily fluids – as huge riffs rise up, spill over into lead breaks and approach a critical mass as it threatens to turn you into a stigmata.

THE CHILD MUST DIE
So yeah, that theme: outlaws, rebels, and most important of all, the journey undertaken beyond the realms of the acceptable, and the sacrifices and rebirth that must be made along the way. A song about infant sacrifice, metaphorically you’d hope, that sounds like it’s galloping across mountain ridges, expanses spread out below. With its initially mid-paced groove, The Child Must Die comes across as a sermon, (‘Every child of fire/Must die to be free’) still bathed in the Watain glimmer as it shifts tempos, calling to mind a time-lapse of gathering storms

THEY RODE ON
At which point, abandon every thing you think you know about Watain. It’s a mournful trail song. Erik sings in clean vocals for the first time. And they’re actually pretty amazing: rich, focused and taking on a slight mid-Western twang, that fits that fact that the song is inspired by Cormac McCarthy’s novel, Blood Meridan. The vast terrain McCarthy conjures that have clearly resonated. There’s a strong influence of latter-period Bathory as well as the procession groove of Swans’ early-mid-90s post-acoustic period, and it’s panoramic and it’s glorious. For all those wondering if Watain’s switch to Century Media means they’re concerned about their commercial future, there’s one stanza here that should put you straight: ‘They sat at the crossroads with high and with low/Yet neither could alter their course/Riches were offered unto them/Yet indifferent and without remorse/They rode on’. Another song about journeying and its price (‘Could you have rode there with them/Would you have joined their march?/Or would you have them ride on?/Away into the dark?’) that lays down a challenge to all followers of the band.

SLEEPLESS EVIL
The warmth was never going to last. Kicking off on a dirty, off-kilter, melody-starved groove, track seven allows a brief searchlight riff before spiralling up into a terrifying sense of vertigo. The guitars that come stabbing out of nowhere might well make you jump out of your skin, as an atonal cacophony ensues – squirming, thrumming and careering trails of guitars all amassing into a disorientating set of dynamics that spell out once more, Watain are driven along their own path, and it’s up to you to follow them, at whatever cost.

THE WILD HUNT
Any fan of Isis will know that weird at-the-threshold sensation that’s somewhere between melancholy and anticipation, an in-the-moment yearning that doesn’t distinguish between past and future. There’s an element of that here amongst the title track’s pounding, mid-paced groove and pace that’s both sermon and solemn chant, and some of the most beautiful lyrics Erik’s ever written. Again there’s a strong and acknowledged Bathory influence here. As well as some Spanish guitar.

OUTLAW
Aaaaaand we’re back into the maelstrom. A massed ‘Ow-woo’ (roughly transcribed) chant shooting off into palpitating grooves and more gang chants, a very rock’n’roll guitar lead, rolling drums and another chant that sounds native American in origin, although that might be the overall sense of a Wild West Satanic odyssey being taken a little too far by your humble, and already mindblown scribe.

IGNEM VEN MITTERE
Another instrumental that takes in gorgeous Spanish guitar, open chords and moments that make you want to raise a lighter, or rather, a flaming torch. It then shits in tone as crushing riffs come in, a guitar line spreads out like some viral infection and it finally releases itself into an aftermath, an echoing wash of sound.

HOLOCAUST DAWN
A grand guignol closer that includes waltz parts, accordions, Arabic strings and still sounds more evil than a box full of sulphur-coated serpents. It opens with a classic Watain riff, albeit with a hint of melancholy, slows down briefly into doomy pacing accompanied by solemn vocals and then ratchets itself up again by means of thunderous drums and tense, atmospheric dynamics whose myriad parts feel like they’re stretching you on a rack. After that waltzing groove comes in, it drops back into more solemn territories reminiscent of Lawless Darkness’s epic closer, Waters Of Ain. Scraping violins are introduced amidst glimmering atmospheres and brief washes of guitar before the velocity kicks in again, spiralling as it reaches some optimum, last-frontier-smashing speed. Even if one listen is nowhere near enough to get your head around the journey you’ve undertaken over the course of the last hour, it’s still a rare, soul-shattering experience, and proof that Watain are spiritual and sonic pioneers, that’s going to have many racing to keep up, and others rearing like frightened horses at a perilous final jump.

Joder qué portadón.

Muy bien esa portada. A años luz de la del anterior, que dicho sea de paso, tampoco me mató musicalmente. A ver si suben un poco la apuesta que esta gente lleva a Satán en las venas y pueden conseguirlo.

Muy bien esa portada. A años luz de la del anterior, que dicho sea de paso, tampoco me mató musicalmente. A ver si suben un poco la apuesta que esta gente lleva a Satán en las venas y pueden conseguirlo.

Yo es que directamente creo que en muchos temas pasan de currarse lo musical e intentan evocar emociones negativas, creando un ambiente malsano y rabioso.

Pues puedes tener razón, pero para eso ya tengo a Beherit. Que pase el siguiente.

Pues puedes tener razón, pero para eso ya tengo a Beherit. Que pase el siguiente.

Debo ser el único ser humano que no se toma en serio Drawing Down the Moon, y que pone cara de estafado cada vez que se aproxima a él. Death metal desgarbado, aye, pero no da para más la cosa.

Me refería más bien al primero, pero "Drawing" me gusta más. ¿Death metal? Pa mí que no. Lo de la estafa, pues no sé, tú mismo. A mí me parecen más estafa los electrónicos, pero bueno...