“De Pinte” was released on February 20th, 2026, via the underground label Terratur Possessions, which hosts most of the emerging black metal acts, such as Bythos, Darvaza, Diabolus, and Mecum Semperterne!, Enevelde, Whoredom Rife, Dark Sonority, and many more.

The relentless form of an unorthodox approach gives an instant rawness of aggression in the opening track, “Unanswered Thrice”, before the vicious hoarseness of the vocals, along with the scathing guitar riffs and drums unleashes a wrathful hatred, the atmospheric touches of the piercing tremolo riffing do not refrain from the cavernous blackened screams, and blast beats that tear into unabashed ferocity.

Misotheist displays infernal aesthetics of darkness, with the roaring growls of B. Kråbøl, cavernous raw production, and melancholy dominating throughout the following song “Blinded and Revealed”.

Some of the riffing patterns are similar to those of modern black metal acts like Deathspell Omega, where the swells of dissonance instill a tyrannical and gloomy mood. The drums create a dynamic approach, even in the slower tempos, while the guitars spew impenetrable darkness. Despite the lack of vocal variety, the atmosphere remains bleak, and this contrasts with the eerie dissonance.

The slow build-up to the atmosphere is evident in the track “Kjetterdom”; the rawness and ferocity seem to seep into the atmospheric spectrum. This is one of the best songs showcasing the composition. The cover art of the album is gorgeous and demonic, and the work of art and detailed images reflect the music’s slower and haunting rhythm and guitar passages. While slowly unravelling the songwriting prowess, the song ventures into melancholic murk before the tremolo drones take over the mood.

Misotheist delivers four tracks that bridge the atmosphere with potent, dynamic black metal riffs and sinister rhythm guitar work. The album also contains one lengthy track, “De Pinte”, which stands as a centerpiece of the band’s prowess. While the majority of the songs have an average length of six minutes, none of the songs are sophisticated, nor do they sound technical.

“De Pinte” is such an album that relies on the distinguishable guitar patterns. Despite the repetition, which provides a background to the pounding drums, Misotheist then gives us a taste of grandiosity on the album’s closing eponymous track. The cinematic opening is followed by a synth that shrouds the atmosphere in the darkness of the diabolical shapes. The drums and the slow guitars conjure an otherworldly being from dimensions unseen. The symphonic effect provides suspense in the background and begins to unfold the epic sonic progression, achieving the level of mastery in the next twenty-one minutes.

The guitars channel a blackened, slow doom akin to Mayhem, and the tremolo section provides a funereal aura. The drums erupt at raging speed, with the rhythm guitar adding an evil vibe to the growing intensity. The drums continue to dominate the blistering pace in a frenetic manner.

The unholy opus of unrelenting Nidrosian black metal then slips into a trance-like state, and darkness falls on this epic song; the bleak sense overtakes the mood into utter gloom. The drumming eruptions are powerful in the remaining seven minutes; the diabolical screams rush over the gates of hell as the sinister riffing and drums appear in the midst of a Nordic storm.

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