Always wrapped in mystery, the enigmatic Misotheist emerge from their frozen kingdom to lend aid to the followers of black and occult metal music. De Pinte, the band’s fourth release, roughly translates from Norwegian as “The Tormented” or “They Tormented,” a fitting name given the Trondheim troupe’s love for tormented and twisted themes.
At their core, Misotheist take the oppressive atmosphere of Selbst and merge it with the brazen audacity of Mayhem, and then strategically adorn that union with subtle melodies and stark emotions that remind me of Decline of the I. Mostly, though, Misotheist sound like Misotheist, and given the shameless glaze of Doom_et_al on their latest albums, that’s not a bad path. Right?
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As with the previous albums, Misotheist continue to explore the band’s sonic landscape within the framework they themselves have defined. The storms of the second wave dominate, interrupted by leaden crawls and broken up by competing periods of dissonance and harmony. Fans of the band won’t be surprised by the mixing of De Pinte, which once again wears the lo-fi elements Misotheist are known for and lends the songs vibrancy and grit. With four tracks on De Pinte compared to the usual three, Misotheist achieve their most accessible album to date while keeping the opening trio in order (for them, at least) and delivering a tightly written A-side. Overall, the improvement on De Pinte signals an eager band that understands the road to greater success is one of steps.
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The first three tracks of De Pinte may be Misotheist‘s best material to date, erupting into counterbalancing discord and melody at varying tempos in concise doses. The guitar sounds on “Unananswered Thrice” drop a melancholy anchor that tugs at the heartstrings over frenzied riffing and a terrifying drum performance, and “Blinded and Revealed” thunders with a calm gait similar to Panzerfaust, injecting gossamer notes over the blackened turmoil below. It’s “Kjetterdom,” though, that stands out on the album’s A-side, slowing the momentum into an agonizing weariness while the bass plays a pivotal melodic role that counterbalances the guitar’s serpentine rattling. Throughout, the vocals cut and collapse with what sounds like broken glass scraping the back of someone’s throat, creating an uncomfortable violence that works flawlessly with the music. Overall, the front half of De Pinte is packed with great moments and strong songwriting, setting the stage for Misotheist‘s longest track to date.
Although the heights of De Pinte surpass its predecessors, Misotheist face a problem in the album’s final part. The key to De Pinte lies in tension, and where the front of the album excels here, “De Pinte” doesn’t quite stick the landing. Swirling, hypnotic tremors play over rigidly measured bass hits, and strange cymbal splashes send the vases off track and on a thrilling, dangerous course of tension. The musical dynamics are deftly woven back and forth, adventurously shifting the song’s speed across a twenty-minute journey that always shocks me with how quickly it slips by. Misotheist‘s devotion to atmosphere and tension across “De Pinte” is mesmerizing, and it’s strange when so much time is spent forging tension for De Pinte to simply… end. There’s no grand release. No catharsis. It might be easier to look past if Misotheist hadn’t committed the same sin at the end of Vessels By Which the Devil Is Made Flesh. Despite how wonderful the rest of the album is, the lack of satisfaction leaves me empty, and the impact is excessive since this is the listener’s final impression.
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Make no mistake, Misotheist bring the goods with De Pinte, and every metal fan will find plenty to like. Although I’m disappointed by the lack of a satisfying climax, I often find myself searching for forty minutes to hear it again. Undeniably great moments pierce the album, and while I’m disappointed by its final, crucial point, Misotheist‘s latest album is a piece you must hear in a month full of quality releases. Don’t miss it, or the choice may torment you.
Rating : Very good!
DR : 9 | Format reviewed : 320 kbps mp3
Label : Terratur Possessions
Website : Bandcamp
Worldwide release : February 20, 2026
The review was done by Angry metal guy.
