MIZANTROPIA "Забвение / Oblivion" 2015
/Metal Scrap Records/

Tracklist:
1. Dark Gathering
2. Замок / The Castle
3. На дне вечности / At the Bottom of Eternity
4. Poison of Life
5. Tomorrow Never Comes
6. За тобой / I’m After You
7. В ожидании битвы / Expecting the Battle
8. Обломки пустоты / Fragments of the Void
9. Не вижу взгляда / See No Sight
10. Бессонница / Insomnia *
11. На коня! / One for the Road
Total playing time: 50:59

http://metalscraprecords.com/ru/images/pictures/main_page/2015/out-soon/mizantropia.jpg

 

 

 

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Years ago, back before I semi retired from the blog. I used to get at least one release from some Gothic Metal band per month. Yeah ya give a NIGHTWISH CD a good review and it opens the fuckin floodgates. Most of the bands were from Europe with a few exceptions. I mean gothic metal from places like Argentina and South Africa, who would've guested? All of these bands had common threads aka: exceptional musicianship, plenty of keyboards and of course a lovely female singer either wrapped in a ball gown or strapped into a corset with her business hanging out. I named it "Prom Dress Metal".
So with all of that said I don't want to get into the habit of reviewing this stuff anymore. But since this label was nice enough to send SFM666 a bevy of cool stuff to review I'll let this one pass. Just as long as I don't start getting invites to all gothic metal band fests in Bulgaria again. So here we have MIZANTROPIA from the Ukraine who actually break the mold of your typical gothic metal act. Musically it's still the same old progressive melodic death metal with the keyboards layered in the back. But their female vocalist sings in the clean as well as death metal growled vocal style. So that is a twist.
The key here is that she's actually singing in that voice as opposed to a lot of melodic death metal bands with female singers who just grunt rand scream. Typically in the gothic metal genre the woman will sing the clean passages and one of the male band members will do the harsh death vocals. So to me this puts their ranking higher than typical prom dress metal. Plus I checked out one of their videos and the singer is wearing a corset. Yeah I'm an older gentleman now but I appreciate beauty as well as talent. I think if you are into this genre of metal, oh and there are a lot in Europe, then MIZANTROPIA is a band you should be checking out especially if you can appreciate the edge they add to their sound.

4/5
MR. WOLF (SCUMFEAST)

obalkaUkrajinská formácia MIZANTROPIA je špecifická vo viacerých aspektoch. V skupine hrajú dve ženy, jedna na bicie a druhá spieva. Celá tvorba je prednesená v rodnom jazyku. Hudobne tu ide v základoch o gotický metal, ktorý je miestami rýchlejší, inokedy sa ťahá ako pracovný týždeň v práci. Spomenuté melodické ženské vokály sú tu miestami podfarbené škrekmi. Klasické metalové nástroje gitara, basa, bicie sú tu doplnené ešte o klávesy. Album má svojskú atmosféru vďaka množstvu melódii. Pre mňa osobne je album “Oblivion” príjemným spestrením atmosféricko - , gotického jedálnička.

Demon (CREMATION #8)

 

Hadde jeg vжrt en konspirasjons-teoretiker som ikke trodde pе tilfeldigheter ville jeg kanskje ment at den gotiske metallen var inne i en ny vеr. Jeg har ilшpet av en knapp mеned skrevet om band med sterke elementer fra genren i form av Dead Summer Society, Crimson Sky og I Miss my Death, og nе altsе Mizantropia. Og som om ikke det var nok slipper Sirenia ny skive om en drшy uke.
Sшk dekning! Kvinner i korsetter, hansker og lilla kjoler med knyte-bеnd er i ferd med е ta over jorden! Glem refleks og redningsvest. Hшrselsvern og sшlvfolie-hatter er eneste funksjonelle beskyttelse.
Utvid/Reduser
Nеh, det er vel strengt tatt en tilfeldighet, og neppe en renessanse vi utsettes for. Eller har stilen muligens fеtt en ny жra i Ukraina, der bеde Crimson Sky, I Miss my Death og Mizantropia har sitt opphav?
Musikken ligger og vaker mellom mello-death og goth med flшyte, flygel, klassisk/sopran vokal og semi-ekstrem kvinnevokal. Prшv е se for deg noe midt mellom Arch Enemy og Epica. (Om du opplever forvirring og varmgang i hjerne-vindingene er det en normal bivirkning av шkt tankevirksomhet). Gjennom ni ordinжre lеter og to bonusspor, totalt 50 minutter, kjenner jeg at metningspunktet nеs fшr endt spilletid. Insomnia er en coverlеt av Alla Pugacheva, en eller annen russisk pop-diva, og One for the Road er en mindre selvhшytidelig og todelt (“skjult spor”) avslutningslеt med akustisk gitar, trekkspill og hшy promille.
Bandet har fartstid fra 2003, og har йn tidligere fullengder samt noe smеplukk bak seg. Fem medlemmer er listet opp pе coveret, men bare fire pе Metal Archives. En ekstra kvinne ser ut til е ha kommet til i lшpet av innspillings-perioden.
Lеtene er varierte, med god oppbygning, og mange fine partier. Instrumentering og lyd (fra Light Side Studio) er god. De hшres for all del dyktige ut, og Oblivion (eller Забвение som den egentlig heter) vil sikkert tiltale noen, men for meg personlig blir noe av dette i overkant sшtt, mektig og mettende.
Se video til lеta I'm after you, som inneholder mange av bestanddelene, og dшm selv.

Roger, aka Gorger (Gorgers Metal)

Mizantropia are a band from Ukraine that plays a very extreme form of gothic metal and this is a review of their 2015 album "Oblivion" which was released by Metal Scrap Records.
A very dark, heavy and atmospheric sound starts off the album along with some powerful sounding synths and a few seconds later melodic female vocals are added into the music along with some high pitched screams that also gives the music more of a black metal feeling and the songs also bring in a very 90 orientated gothic/doom metal sound.
Acoustic guitars and clean playing can be heard in certain sections of the recording and the music also mixes in some modern goth and prog metal elements at times and you can also hear a great amount of melody in the guitar riffing at times and some of the faster sections of the songs bring in a small amount of blast beats and the solos and leads also stick to a very melodic musical direction and some of the tracks also bring in a small amount of death metal growls and influences and as the album progresses a small amount of folk instruments can be heard briefly.
Mizantropia plays a style of gothic/doom metal that is very heavily rooted in the 90's and also adds in a touch of death, black and modern metal to make their music heavier fro this genre, the production sounds very professional while the lyrics cover love and sorrow themes.
In my opinion Mizanthropia are a very great sounding extreme gothic metal band and if you are a fan of those musical genres, you should check out this album. RECOMMENDED TRACKS INCLUDE "The Castle" "Tomorrow Never Comes" "Fragments Of The Void" and "Insomnia".

8/10
OccultBlackMetal (Doomed To Darkness)

Cover 8Probably the first band I meet with ladies in their line-up and no band pictures in the CD booklet, this should be a first I tell you, haha. Mizantropia is made of 5 members, 2 of them being ladies (one is vocalist, obviously), but I wouldn't know their names since the booklet is completely written in Cyrillic script so totally out of bound for someone like me who's not familiar with this type of writing. This is the band's second album to date, an 11 tracks effort totaling a bit over 50 minutes of organic and quite raw produced Gothic Metal with intense Black Metal influences, even a secondary shrieking male vocalist. Their music reminds me a lot of a US band that I think it's already disbanded by now, Rain Fell Within, from the vocals to the dramatic use of keyboards, but except to the Extreme Metal part of it, of course. At times the guitars take influences from a distant genre as Technical Death Metal which is pretty bold, but sounds good. An interesting combination, one that was in fashion about 15 years ago but one that died quickly, so at least for nowadays I don't know many other bands trying this path. Good choice if you like a hint of melancholy and (good) female vocals in your Extreme Metal, go for it!

8/10
Adrian (Pest Webzine)

 

necromance 8Para aquellos que no los conozcan, MIZANTROPIA es un quinteto nacido en Ucrania allá por el año 2003. Desde entonces la banda de Extreme Gothic ha lanzado dos EP, un single y dos largas duración. Hoy desarrollamos estas líneas para sumergirnos precisamente en su último disco de estudio.
“Oblivion” vio la luz el pasado 23 de abril bajo el sello de Metal Scrap Records, un álbum compuesto por once temas que nos ofrecen cincuenta minutos de un Extreme Gothic bastante interesante, bellamente oscuro y con una atmósfera profunda propia de los países del este. Un trabajo muy a tener en cuenta que pasamos a desglosar. El disco se abre con “Dark Gathering” composición llena de orquestaciones y ritmos acelerados. Extrem Gothic atmosférico donde destaca la casi voz operística de Catherine Sinegina y los profundos guturales masculinos en los coros. Anastasiya Kurchenko nos da una batería potente y rápida. El tema cuenta con unos pasajes muy góticos que iremos disfrutando en mayor cantidad con el avance del disco. Llamativo bajo de Anton Abramov en esta primera entrada.
Seguimos con “The Castle”, la cual comienza de forma relajada con las guitarras de Serhii Yasir y Serhii Vojtenko en modo acústico, este suave inicio viene acompañado de la suave voz de la cantante femenina. Un inicio muy Dark Wave que sirve de antesala al espléndido Extreme Gothic de la banda, estilo que se abre con la distorsión de las seis cuerdas y la brutal voz masculina. Teclados fríos y envolventes en una oscura esencia. Esta segunda composición tiene unos cambios de ritmos muy marcados que nos llevan de un estilo a otro de forma impecable.
La tercera en salir a escena se titula “At The Bottom Of Eternity”. Volvemos a vivir desde el principio esos pasos del Extreme Gothic que se mezclan con los sonidos del Gothic más elegante, esas melodías de salón, ese Gothic que por su suavidad se disfruta más en la comodidad de un sofá que en directo. Este tema cuenta con una gran base más cercana al Symphonic con ese toque de oscuridad que n os suelen venir de los países del este. Seguimos con “Poison Of Life”, y llegamos al tema que más despertó mi interés. Buen inicio a base de guitarreos y una batería bastante técnica. Los guturales vuelven a meternos en el lado más Extreme mientras que la voz femenina nos introduce en el lado más Gothic. Cambios de ritmos espectaculares donde las seis cuerdas se presentan más potentes que nunca. Pasajes entrecortados y pausados para darnos partes muy cercas del Melodic Death Metal. Esta cuarta entrada tiene el estribillo más pegadizo de todo el disco. Continuamos en la escucha con “Tomorrow Never Comes”. Tema más animado, más alegre, composición que está más cerca al Symphonic Metal como DELAIN, CORONATUS o XANDRIA; solo que a una velocidad superior. Tema mmuy operístico con una voz muy al estilo y una base muy orquestal y sinfónica.
“I´m After You” nos saca en su inicio de todo lo anterior y nos introduce en melodías del Folk, donde podemos escuchar la típica flauta del nombrado estilo. Una breve intro que nos abre las puertas del Gothic más melódico, pero sin dejar atrás esa esencia de la música típica de Ucrania. Tema más lento, en sus líneas generales, que todos sus antecesores. La parte central nos ofrece de forma muy sutil ese Gothic de salón que me ha recordado a LACRIMOSA.
Le sigue “Expecting The Battle”, quien se olvida de lo anterior y regresa al Symphonic Gothic. Baterías muy marcadas y guitarras alocadas en algún momento; y técnicas en otros. El orquestal estribillo de este tema me recuerda y mucho a NIGHTWISH. El tema se mete en algunos momentos en ritmos muy desordenados y caóticos donde destaca la excelente voz tiene aquí Catherine. Estamos ante la pieza más extraña del disco. Entramos en la parte final del disco y lo hacemos con “Fragments Of The Void”, el tema más largo del álbum con seis minutos de duración. La banda poco a poco va dejando atrás el Extreme Gothic y se mete cada vez más en el puro Symphonic. En esta pieza destacamos como gran protagonista un enorme y magnífico teclado. Canción muy orquestal, con sinfonías oscuras pero sin dejar atrás la seña de identidad del país de origen. La novena entrada del disco se titula “See No Sight”. Al inicio el potente gutural me pide otro tipo de pasaje instrumental, no me acostumbro a los guturales teniendo un ritmo tan lento e incluso limpio desde los instrumentos, menos mal que la parte instrumental va in crescendo y arregla un poco el extraño inicio. Gran juego de las dos voces que nos da paso a un buen pasaje instrumental en la parte central/final donde podemos incluso vivir un buen punteo de guitarra.
Llegamos a la canción más corta con “Insomnia”. Pieza suave de melodía tranquila que nos acerca de nuevo a ciertos acordes del Folk, donde incluso el registro de voz femenino cambia para que esa raíz se note aún más. Ritmo que hace un claro homenaje al país de la banda.
Y cierra el disco “One For The Road”. Donde la banda se va por otros caminos, ritmos incluso del Country?…la entrada solo dura un minuto y diecisite segundos para dejarnos luego en silencio hasta el minuto dos y veinte donde escuchamos sonidos de tabernas, gente bebiendo, riendo, brindando y un acordeón de fondo…para dejarnos un tema rápido a base de un acordeón, guitarras y un gutural espléndido, pero la verdad es que nos encontramos con el peor final de disco que se podía esperar.
En definitiva este “Oblivion” comienza con fuerza, dándonos un espléndido Extreme Gothic, donde podemos introducirnos en ciertas partes con los acordes más reconocibles del Gothic más sinfónico. La pena es que el disco cambie tanto mientras avanza en su track list. Del Extreme pasamos al Symphonic y de éste nos metemos en sonidos de Folk. Cambio que no se esperaba cuando uno escucha las primeras canciones de este disco. No es más álbum, pero ese cambio de tendencias inesperado deja al final de su escucha un mal sabor de boca, rematado aún más por el mal final del álbum.

 6.8/10
Santi Machín (NECROMANCE #08/15)

Once in a while, a musical note comes from Ukraine. But for me it is quite seldom, so seldom that is hard to figure out what the genre of metal looks like in Ukraine. The rare moments I am confronted with their music I find them of appropriate level. This also goes for the album that is spinning virtual round in my virtual cd player. It is the second album of Mizantropia where singer Ekaterina leads us into their hard and dark gothic music. She shows high and clear vocals but also the screams that might make the best in the genre feel not at ease. The music is good and seems to take us back to the start of the gothic era when screams and grunt where still prominent with untameable energy instead of the (sometimes too) sweet songs of nowadays. A small disadvantage is that the music seems a bit too ‘western’ for me. I would like some more local accents in the music like it is to find in the video down below. It is a beautiful example of the influences I appreciate. Love, pain, hate and fear are the subjects on this album that is brought with great conviction in both English and Russian. For those who like this type of music: check at the website of the record company. The album is for sale for a very nice amount of euro’s.

76/100
William Pezy (Lords Of Metal)

scream magazine 197"Oblivion" er en blanding av gothic, doom, black, melod-isk death metal innhyllet i en merk romantisk atmosfere.
Og med et bandnavn som Mizantropia sa handler selvfolgelig latene om kj?rlighetssorg og diverse. Latene er kule. Fengende melodier og mye bra elementer. Vokalisten spretter lekent rundt mellom dype growls og soprantoner, og jeg kan bare tenke for meg selv hvordan dette ville hores ut live. I et album som dette funker det i hvert fall fiott. Gitarene er solide, og trommene ganske presise. Favorittlat her er faktisk siste lat pa platen som oversatt heter «Hesten»(l) og er totalt ulik resten av plata. Det ertydelig at denne lata ertydelig fylt med humor, ironi og misantropi. Men likevel er jeg glad for at denne lata ikke ble forkastet, men klarte a klore seg fast som siste lat ut. Jeg skulle faktisk enske hele albumet var i samme stil. Da hadde det slatt bedre an hos meg i hvert fall

Ingrid Annett Salomonsen (Scream Magazine #197)

 

I don’t know why but I get to think of Italian thrash from the 80s when I see this band’s name. you know like Schizo and stuff like that. I have no idea why but the name triggers that kind of reaction in me. The brain is a strange organ. And even though this might have nothing to do with thrash that is what will pop up in my head for now on. This Ukraine band are on its second album. I missed out the first one but this is some really cool gothic/extreme metal. You got the female vocals (growl/clean) and the bombastic feel that you kinda expect from gothic. I liked this from the start. There is an atmosphere to this that I like.

Anders Ekdahl (Battle Helm Magazine)

evyu2zn0pvcfv20zDie Ukraine wird seit einigen Jahren von bürgerkriegsähnlichen Zuständen geplagt. Verschiedene oppositionelle Gruppierungen und russische Separatisten bekämpfen einander. Mittlerweile wurde das Land zum Spielball zwischen der NATO und Russland. Der Dichter Heiner Müller stellte einst die Hypothese auf, dass in Ländern, wo die Gefahr am größten sei, vermeintliche Tugenden wie Höflichkeit am ausgeprägtesten seien – als Reaktion auf die gesellschaftlichen Zustände. Damit geht ein Output an Kunst einher, die eben nicht die politische Geißel thematisiert. MIZANTROPIA können damit als Prototyp des Müller’schen Denkens gelten. Wer dem aktuellen Album der Band lauscht, denkt an die Landschaft der östlichen Ukraine. Waldlandschaften, üppige Felder und Auen wechseln einander ab. Das klingt nach Romantik (im Sinne Eichendorffs) und beschreibt auch den Klangkosmos des Quartetts aus Saporischschja. So wie einst Theatre of Tragedy die Schöne und das Biest in Melodien gossen, zelebrieren dies seit sechs Jahren MIZANTROPIA. Russische, ukrainische und englische Lyrics wechseln einander ab und erzählen von der Liebe, der Sehnsucht, der Eifersucht und Verzweiflung. Was in Mitteleuropa einen beliebigen Touch hätte, gewinnt im Spiegel der politischen Konflikte eine existentielle Eindringlichkeit, die die Band aus dem Gros der Kollegen heraushebt. So ist die Sehnsucht nach den Archetypen menschlicher Emotionen zwangsläufig auch ein politischer Kommentar, der musikalisch übrigens auf gehobenen Niveau daherkommt. Sängerin Witch singt so eindringlich slawische Botschaften, dass eine Verbundenheit zum Hörer entsteht, ohne Wort für Wort zu vertstehen. Die Arrangement heben sich vom typisch gefälligen Goth-Metal-Matsch ab: deutlich eindringlicher und ungeschliffener sägen sich die Gitarren in den Gehörgängen, während die Rhythmus - Fraktion verzweifelt nach vorne prescht. Eines der Highlights des Genres.

 12 Punkte
FS Hain (LEGACY #98)

 

legacy 99Der Preis für den Kitsch-Overkill im weiteren Metal-Bereich geht in diesen Monaten an MIZANTROPIA, deren “Oblivion” symphonisch aufgemotzten Dark Metal mit Frauengesang zu Gehör bringt, was den Machern noch nicht grell genug zu sein scheint, denn hinzu kommt oftmals flirrende Gitarrenarbeit, wie man sie vom melodischen Black Metal der späten 1990er kennt, und Schrei-Parts, die beinahe aus dem Metalcore stammen könnten. Musikalisch ist das Ganze aber wirklich 20 Jahre in der Vergangenheit angesiedelt, wobei die Gruppe aus der ukrainischen Stadt Saporischschja weder spielerisch noch in puncto Produktion etwas anbrennen lässt. Die Scheibe könnte auch in Skandinavien ersonnen worden sein, wenngleich auf kompositorischer Ebene noch einiges im Argen beziehungsweise gleichgültig lassenden Mittelfeld liegt. Länger als fünf Minuten werden die Tracks zwar selten, aber in diesem Rahmen kriegen MIZANTROPIA nichts auf die Kette, was im Ohr hängenbleiben würde. Stattdessen feiern die Musiker und ihre Frontfrau einen bestimmten Sound, den andere früher und mitreißender inszeniert haben, doch wer in dieser Hinsicht nostalgisch gestimmt ist, darf ein Ohr riskieren und sollte sich hinterher die Zähne putzen, weil die Chose so abgeschmackt süß ist.

7 Punkte
Andreas Schiffmann (LEGACY #99)

It has been a while since I got my hands on a decent Gothic Metal album. Not that I am complaining, Zoka is far better versed within this genre, and is by far better both at describing it and enjoying it. Nevertheless, I still got to listen to Mizantropia’s second full-length release, the translated title of which being Oblivion (please note that I call it its translated title, since it actually is in their native language, Ukranian – which my keyboard cannot copy, curse my lack of computer skills). The quintet are often referred to as an ‘Extreme Gothic Metal band’, due to their heavy use of both traditional symphonic melodies, accompanied by a female lead, yet also coupled with deep, distorted growls (from the same singer even, as far as I can tell). They have used this particular recipe in order to create all eleven tracks present, of which only three are in English. The rest are (yes, you have guessed it) in Ukranian, which works surprisingly well with the growling parts in particular. Granted, I did not understand a word of what was being expressed, but the feelings of despair and hopelessness shines through quite clearly just the same. Having been around for twelve years at the time of this being written, the years have definitely not been wasted as the band has clearly gathered themselves a significant amount of experience, both through releasing a grand total of two records, two EP’s and a Single as well as through (as far as I could gather), some touring. And if tracks such as ”Tomorrow Never Comes” is a precursor of what I can expect to come, I will definitely be keeping my eyes on Mizantropia. Oh, and as an added bonus, the tenth track with the translated title ”Insomnia”, is apparently a cover of some Russian Pop artist. Some of you might get a giggle out of that.

72/100
Brian (Metal Revolution)

When an album's style is referred to as being 'extreme gothic metal', what does that actually mean? Gothic Metal sans the cheese? Maybe something a tad more 'extreme'? Maybe something to do with the arrangements that saves said album from redundancy (read: the style's cliches)? So yeah, Mizantropia may not be the next Cradle Of Filth, but by the spaghetti monster, are they good!
First of all, if Dani Filth had ever had a showdown in vocal versatility, the beautiful girl fronting this band would have given him quite a fight. Her incredible clear voice makes a full circle through any other metal-oriented vocal approach with utter ease and conviction, alternating between styles like a human chameleon: this girl can fucking growl, and shriek, and sing in a deep, intimidating voice, and howl, all the way back to her angelic vocal performance, sounding at one time like a banshee and at another, like a sweet, alluring witch -- her voice is EVERYWHERE, and it's genuinely fascinating; the Russian language which she uses, makes her singing even sexier and quasi-erotic.
Second, and that's the most interesting part, the music never falls flat on its face and the gothica on display never retires into the realms of cheese; this album is heavy, and in parts extremely heavy; at all times is it punchy and dramatic and the dynamics are incredible. A natural sense of songwriting artistry coupled with larger-than-life compositions construct a virtually flawless album; an album that may appeal to a wider audience than mere female-fronted Gothic Metal enthusiasts. This album offers dark and melancholic moments, gut-wrenching tunes of love and hate and vampiric, blood-curdling shrills alongside metallic lullabies of bliss that may transport you straight into your Nirvana. 'Oblivion' is a portal to emotional turmoil and crystalline beauty; a place where shadow and light dance hand in hand.
Mizantropia's 2nd full length album may serve as an eye-opener for those who have given up all hope anything good will ever be again created under Gothic Metal's roof; it's a statement; heavier than most and darker than the rest, 'Oblivion' is a lesson in creativity, vision, performance abilities and talent. get this album today, if you like your music well orchestrated, theatrical and ripping (coupled with some of the best keyboard lines out there).
Imagine a marriage between Andrew Lloyd Weber's 'Phantom Of The Opera' fronted by Sara Brightman and Cradle Of Filth's 'Cruelty And The Beast' - and after you've done imagining, go and grab a copy of 'Oblivion'!
Note: Although titled primarily in Cyrillic, English translations are provided as part of the album packaging, hence album name 'Забвение'/'Oblivion' can be considered interchangeable.

8.5/10
Chaim Drishner (Doom-metal.com)

Muitos dizem que o Gothic Metal é um estilo que já deu o que tinha para dar, e agora seria tudo mais do mesmo. Talvez escutar esse disco da banda ucraniana Mizantropia mude essa opinião. A minha ao menos mudou...
Se não é a coisa mais original do mundo, é inegável que o trabalho da banda em “Oblivion” é espetacular, não devendo em nada as bandas top do gênero. E como eles colocam um peso extra em algumas das faixas, não seria exagero classificá-los como Extreme Gothic Metal.
Um dos destaques da banda é a vocalista Catherine Sinegina, com uma voz acima da média, não se contentando em soar apenas como uma simples cópia de outras vocalistas do gênero. Claro que tem um marmanjo urrando junto também, no tradicional estilo “a bela e a fera”. De destacar também o bom trabalho dos xarás guitarristas Serhii pelos riffs interessantes e a batera Anastasiya Kurchenko pelo belo (nesse caso redundante) desempenho em “Oblivion”.
Como as músicas são em sua maioria intituladas e cantadas em ucraniano (meus conhecimentos desta língua ainda não estão bem afiados, hehe), as que acabam chamando mais atenção são as faixas em inglês, como a espetacular “Dark Gathering” e a pesadíssima “Tomorrow Never Comes”. O disco possui duas bônus, a primeira um cover da diva Pop russa Alla Pugacheva, e a segunda meio nonsense, parecendo mais algo voltado para o Folk.
Mizantropia é altamente indicado para fãs de bandas como Moonspell, Draconian, Theatre of Tragedy, Paradise Lost e afins. Uma surpresa para mim, que desde já me tornei fã de mais uma banda ainda desconhecida por boa parte dos brasileiros, mas que, pela qualidade de seus integrantes, pode logo vir a mudar esse quadro...

8/10
Vicente Reckziegel (Whiplash.Net)

MIZANTROPIA took place in Top 10 Best Releases of 2015 by Sonic Cathedral /USA/!!!

It’s hard to ignore the solid music coming from Eastern Europe. The Russians, the Ukrainians, and pretty much every other state from Eastern Europe is delivering music that is at the top of multiple metal genres. And Femme Metal is no exception. Mizantropia is another solid sound coming from Metal Scrap Records in Ukraine, and they provide one of the top sounds it’s been my pleasure to listen to this year. This release includes 3 tracks in English, the remainder are in Ukrainian, a language somewhat similar to Russian and written in Cyrillic. Consequently, we may not be able to discuss all the lyrics, which is a shame. The ones I can understand are solid, as is the music.
The band dates back to 2003. It has evolved from a solid Gothic Metal sound, something that you can expect with some degree of regularity from Ukraine. The band evolved into a mix of Gothic, Doom, Black, Melodic Death Metal over time, and the present release is the result of that evolution. The sympho component seems to be a new part of the bands personality, but, here, it’s clearly more than just an after thought. I asked the band about it, they mentioned that it’s a production component, there doesn’t seem to be a full time keyboard player so you can pretty much figure that it’s software provided or done with another technological approach (or a ghost keyboard player, I guess). Either way, its more than a minor part of the musical landscape.
But, this music takes it’s excellence from a number of approaches. There’s solid metal, there’s that sympho from somewhere, and there’s a femme metal vox that covers the classical and the Death Metal with equal levels of competency. It’s hard to begin describing the release. I’ve listened to this one as much as anything I’ve heard this year. And, as much as I listen to lyrics, you’d think this one wouldn't appeal to me, it’s mostly in a language I can’t understand. But, sometimes, that just doesn’t matter. This is one of those times.
On rare occasions, music communicates beyond what the lyrics tell us; sometimes we understand without comprehending. Mizantropia seems to have this innate ability to communicate on multiple levels, which is strange given the relative youth of the band. But then, there have been bands like this before, youth is not always an impediment. A lot of that is the vocalist, one Catherine Sinegina. There’s also a female drummer, a good one, and some fine guitar players. But, good as the background material is, it’s the vocalist that seems to drive this material for much of the time. That and the overall production. I’m not sure I understand how this kind of sound evolves, but it seems to evolve in the Ukraine with some degree of regularity. Hard to understand, my Ukrainian wife liked Country Western. Guess she’d been out of the old country too long.
So, what does Oblivion have to say and how does it say it. We begin with Dark Gathering which is one of the 3 English titles. And they waste no time getting to the sound that defines the release. We get solid guitars, some killer drums and that vox that drives the release. We begin with the more classical sounding but we slip a little Death metal in to make sure you know this will be something other than standard Operatic material. Lyrically, we hear a theme that prepares us for the devastation that follows:

So let it be / I’ll turn much more lights on
Tonight is my party / Don’t mind that I’m alone

I’m the hero / of masquerade / But I’m alone
Tonight is my party / But I’m alone

Tonight is the ball / The candles are lightened
But in this empty hall / I’m alone, I’m frightened

What you get with this release is an emotional quality that is certainly a strongpoint of the release. You don’t need to understand the Ukrainian lyrics, or the English lyrics for that matter. You feel the music, you understand what is being said without understanding a word, and that is a rare capability. Much of this communication is the art of vocalist Catherine Sinegina and her’s is a vocal that goes beyond what we expect in this genre, and, in this genre, we expect a lot. The movement from the beautiful to the full death metal is exceptional, I can’t really compare it to anyone else I’ve heard although many do this approach. It’s like two sides of the same soul, one addressing the beauty of life, the other exploring the darkness. Our vocalist seamlessly moves from one sound to the next within the blink of an eye, we have no time to register the alteration in sound. But it’s not a one person show, the background metal clearly understands the desperation of the lyrical themes and is there to promote a fuller understanding.
The third track is entirely in Ukrainian, as is the title. In English, that title is At the Bottom of Eternity. Ukrainian is a language that is clearly foreign to most of us. I’ve heard more than most having been married to a Ukrainian, but it’s still a little different than listening to Spanish or French. There is some similarity to Russian, at least to my interpretation. But, with this vocalist, the lyrics are just that more interesting in her native tongue. Again, we get the rapid transfer from the more classical vocal to the growling in in a Miami moment, and the effect is spectacular.
Poison of Life is a second track in English. It begins with a pulsating guitar, followed by a more crushing guitar leading to a screaming voice from the grave. We hear:

What is the healing for the broken soul?
The broken soul craves no oblivion, it desires to live
What can be given to ruined and almostly cold
Almostly dead and cloudy mind, what can you give?

Our vocalist then goes back in forth from one style to the other, taking us deeper and deeper into the hopelessness of a life in turmoil. I know of few vocalists who can put as much emotion into a track, I’ve heard less pain on the therapist’s couch. The final verse defines our final outcome:

Each step I take brings me closer to death
Closer to endless oblivion and alienated me from life
Time runs through me and empties my heart to the last breathe

Tomorrow Never Comes is the final English track, and it’s a good one. It begins with keyboard sounding bells, and flashes to the harsh vocal. With this one, there are several points where our vocalist hits high notes in her classical voice and those times are to be treasured. She is a soprano of some note. If there’s a deficiency in this release it’s that these moments are too few and far between. If you can hit those notes, give them to us. The track, lyrically, continues the dark Gothic themes that are the staple of the release:

Time goes away / But we can not see
Only drop of the rain / Left of reality
We are helpless in this / But to get the life’s kiss
We continue to go / To the end of this road
We sail on the river / Like the life’s lover
But it has no end / And we understand

The band clearly does some interesting videos, and, with them, you get to see what this lovely Ukrainian vox looks like in performance. One of the best is After You. I have it on confidence that the instrument she’s playing here is a “sopylka” but that’s probably not how you spell it, it came from a Ukrainian friend who was guessing after I described it. If I’m wrong, I’ll probably here about it from the band. But, either way, it does add an interesting dimension to the track which is, by the way, one of my favorites and I’ve largely worn it out on several iPods.
The remainder of the tracks are all in Ukrainian which doesn’t detract from the excellence of the release at all. It may, in some cases, enhance the listening quality. Most are a bit harder in nature although some, Fragments of the Void, for instance, turn down the pace to a more Doom oriented sound. The band seems equally competent at this approach, and the vocals are sufficiently flexible to meet the requirements for this alteration in musical style.
As I mentioned, I’ve spent a lot of time listening to this release, it’s as good as anything I’ve heard this year from anywhere on earth. I suspect I may have more to say about it after the first of the year. Metal Scrap records continues to impress me with a solid lineup of talent, and Mizantropia may be the best yet.

10/10
Doctor T. (Sonic Cathedral)

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