France’s Misanthrope certainly are a progressive loss of life metal band who also, unlike the majority of their stylistic brethren, in fact lean towards ‘progressive’ way more compared to the ‘loss of life’ part of the label. Created in 1988 by vocalist/guitarist Phillipe De L’Argilière, the music group made their documented debut with 1991’s name-explaining Hater of Mankind — a break up E.P. with Chileans Torturer. Upon this and their following albums, Variance on Inductive Ideas (1993), Wonders: Totem Taboo (1994), and 1666…Theatre Bizarre (1995), the band’s ambitious attempts to combine energetic metallic riffs, incongruous period changes, and also jazz fusion, often proved more perplexing than actually successful — zero because of their alternated usage of both People from france and British lyrics. But with 1997’s a lot more cohesive Visionnaire, Misanthrope’s unorthodox metallic compositions had been finally brought into concentrate and designed to make sense, resulting in their first main brush with worldwide recognition. Since that time, the group offers continued to increase the apparently boundless likelihood of their design with every launch, specifically 1998’s Libertine Humiliations, 2000s outtakes collection, Recueil d’Écueils: Les Épaves et Autres Oeuvres Interdites, and Immortal Misanthrope, and 2003’s Sadistic Sex Daemon. Through everything, L’Argilière has continued to be the only continuous in Misanthrope’s background, and spent some time working with over twelve musicians. Listing all of them here would, needless to say, be considered a rather futile workout, but also for the sake of info, his latest assisting cast contains Jean-Baptiste Boitel (examples/keyboards), Gregory Lambert (business lead acoustic guitar), Anthony Scemama (acoustic guitar), Jean-Jacques Moréac (bass), and Gaël Feret (drums).