MISOTHEIST – De Pinte

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7.0

• Bands:
  MISOTHEIST
• Duration: 00:41:06
• Available from: 02/20/2026
• Label:

• Terratur Possessions

Streaming not yet available

Misotheist is a foggy entity who, despite being part of the Nidrosian black metal scene in Trondheim (whose ancient name was, in fact, Nidaros), has always wanted to keep its members hidden – among which, however, the presence of B. Kråbøl, formerly of Krabøl and mind of the new Diabolus project, Mecum Semperterne, is known! whose release is scheduled at the same time.
Published, as expected, by Terratur Possessions, this new “De Pinte” – Norwegian for 'the tormented' – continues the band's path after three constantly growing works, evolving the Norwegians' sound in a coherent way with that of a scene, that of Trondheim, which has always maintained a delicate balance between the classical school and the most modern and claustrophobic impulses, in the name of a search for dissonant atmospheres and little comfortable.

The songs go from three in the previous chapters to four, partially reducing the running time: excluding the twenty minutes of the final track which gives its name to the album – and which we will discuss separately – this time they never exceed seven and a half minutes, making listening certainly more accessible.
If the opening with “Unanswered Thrice” sees Misotheist dealing with a rather direct, violent and distant piece, from the labyrinthine structures of the past and which perhaps tends to close too quickly by only partially developing some of the excellent guitar riffs, with the subsequent “Blinded And Revealed” the process of refinement and thinning out compared to certain lengths of the past succeeds fully.
The result is a feral black metal, supported by a sufficiently clean but never sterile sound, which maintains that roughness typical of Norwegian black, with the angularity of the guitars alternating with more compact passages without ever losing sight of the narrative thread.
The final part is very suggestive, in which the melodic taste grows, well arranged between intertwining bass and guitars in a depressive and melancholy mood.
However, “De Pinte” is not only dressed in speed and violence, but also tries to build more atmospheric and reflective moments with “Kjetterdom”, a slow procession with a hypnotic mood and with few changes, well calibrated and without ever leading to boredom, resulting in fact in an effective musical movement that flows seamlessly into the very long closing entrusted to “De Pinte”, which gives its name to the album and ideally (and really, in the vinyl version) occupies the second side of the album.

If from a certain point of view Misotheist have so far thinned out their writing with shorter and less bizarre songs, with this last song they have let themselves go without major limits, building a monolith that works despite the demanding duration, all thanks to the effectiveness of guitar scores that are perhaps not very original, but capable of mixing melody and modernity along the lines of their Whoredom Rife labelmates.
The result is to find yourself halfway through the song without any major problems, realizing that the first ten minutes passed without yawns or any difficulties, while you have the illusion that everything tends to slow down to a heavy doom pace, only to then find yourself in an almost chaotic delirium of dissonances.
The second half of the song is in fact a succession of intense and distinct movements that always give the impression of narrative coherence, and not of a mere sequence of disconnected parts: an aspect that represents the true growth of Misotheist in 2026.

Net of a first half in which the three songs are certainly of a good level but without ever truly impressing, it is what emerges from the grooves of a song like “De Pinte” that is the true heart of the entire work, as well as the litmus test of their real potential.
Half the work seems done: now, however, it's time to leave behind some stylistic comforts and definitively abandon the comfort zone.