Bearing the pledge, “On June 7 black metal shall be reborn”, promotion for Watain’s 2010 offering smacked of little more than a cheap publicity stunt. But the release of ‘Lawless Darkness’ revealed a groundbreaking sound that captured old school aggression and originality in equal measure. Drenched in blood and spine-chilling atmospherics, this unique work offers a glimpse into a world where death and chaos reign supreme.

“This genre has been going nowhere for the past decade,” remarks the deliciously arrogant Erik. “And no one seems to have the ambition to do something about it. But at the very moment of its decline, when its former representatives either have become homosexuals, businessmen, rock stars – or in a few rare and honourable cases, dead - Watain has come to light the fires of the underworld again. No more bullshit. No more whoredom. No more playing around.” Such passion and authenticity was most recently witnessed at the band’s electrifying Sweden Rock set, which featured a 45-minute Bathory tribute. While many artists would have shied away from the challenge, Erik led a typically expert performance, creating an unforgettable chapter in Watain’s live history to date.     

“Our recent performance at Sweden Rock was very special,” he agrees. “One of those nights when the twilight air was thick with magic, and many spirits were present. But then again, most of our concerts are of that nature, and we are also getting more and more skilled when it comes to reaching this fanatical state of explosive frenzy, an environment very suitable for the powers of our gods to manifest.” Despite live shows laden with flames and gore, Watain’s relationship with Satanism is no gimmick or adolescent flirtation. Much like the black metal genre, these unholy teachings shun the flock and empower the individual, spawning the sort of independent thought for which Watain are now famed. Also notorious for drenching fans in month-old blood, the band showcase a shock-rock factor which is as blatantly obvious as the rancid stench that accompanies it. Nevertheless, Erik insists that each ghoulish prop serves a greater purpose.

“The blood is a link between the world of the living and the world of the dead. On stage it becomes a bridge between this reality and its flipside, the wine of the crossroads poured from a divine chalice into the gaping mouths of the thirsty ones. An opener of gateways.” He continues, “Watain is not just a band, it is a total experience consistent of music, philosophy, art, brotherhood and Satanism. ‘Lawless Darkness’ is a child of the Devil, it has the characteristics of a god, and of course people into metal will prefer that before some happy meal metal like Keep Of Kalessin or whatever.”

Having snagged gold status in Sweden, ‘Reaping Death’ is often considered the ultimate selling point of ‘Lawless Darkness’, but it is the epic ‘Waters Of Ain’ that brings Watain’s love affair with death most vividly to life. Forged from Erik’s innermost thoughts on the subject, this morbid masterpiece captures a plethora of emotions, defying musical trends with fluid melodies, punctuated by fits of aggression. Fulfilling the vocalist’s desire to create music “uncoloured by external influence”, it is the unmistakable product of pioneering modern metal.  

On ‘Waters Of Ain,’ he muses, “One could say it is about looking back upon a life of transcendence and enlightenment, and realizing that in order to continue on the path, life itself has to end. It is written in commemoration of some people that have been close to Watain, and also as a sort of testimony for myself. The reason for the song being so epic and ‘broad’ in its emotional spectrum is because the feelings that one experiences when thinking about Death deeply are usually not limited to just one. To me, the coming of Death brings up a wide flow of feelings. These are things that we as artists must be able to portray, and you cannot do that with just blastbeats and a Mayhem riff. The dark side is the abode of many marvels and emotions in excess. This is what we want to portray not only in ‘Waters Of Ain’, but on all of ‘Lawless Darkness’.”