Blog

Foo Fighters’ new album Your Favorite Toy will be released in April

With the release of their new single “To The Last Breath”, the experienced Swedes Arch Enemy proudly introduce new vocalist Lauren Hart (Once Human). The latter is replacing Alissa White-Gluz, who left the ranks in November after 11 years. All instruments for the new song were recorded at Sonic Train Studios in Varberg (Sweden). Vocals recorded by Max Morton. Mixed and mastered by Jacob Hansen at Hansen Studios.
Read more…

Swedish power metal crew Twilight Force are excited to announce the signing of a new contract with Napalm Records. Coinciding with this announcement, the band has released a brand new single “Magic Of A New Dawn”.
Read more…

In anticipation of their upcoming self-titled album release, Sunn O))) offer in listening a new track in preview titled “Butch’s Guns”.
Read more…

Deafheaven will be heading out to Europe in July and August for a 24-date long touring march. Show Me The Body will join them on select dates.
Read more…

The Czech female-fronted metal ensemble Metal Factory have released their new single, “Human Ecstasy”, in the form of a video clip. The song will be part of the upcoming second full-length More details coming soon.
Read more…

Sarcasm have disclosed details in what will be their sixth full-length instalment. Dubbed Lifeforce Omnibound, it will be set free on May 29th, 2026 through Hammerheart Records. Mixed and mastered by Lawrence Mackrory at Rorysound Studios.
Read more…

Spencer Mackenzie has already built a reputation that many blues-rock artists spend decades chasing. On Empty Chairs, his latest release, the Canadian guitarist leans into a gritty, introspective direction without sacrificing the firepower that has defined his live shows. The result is a focused and self-assured record, balancing clever songwriting with muscular musicianship.

Hailing from Southern Ontario, Mackenzie has steadily carved out his place in the contemporary blues scene, earning a JUNO nomination and a Maple Blues Award along the way. A left-handed guitarist with a commanding stage presence, he has shared bills with heavyweights like Walter Trout, Samantha Fish, and Joe Bonamassa, the latter being a comparison that has followed him since early festival appearances. Yet Mackenzie is no mere imitator. His phrasing is fluid, his tone meaty, and his voice carries a grainy maturity that immediately commands attention. On this album, produced by Ross Hayes Citrullo of The Commoners, that identity feels more defined than ever.

The title track, “Empty Chairs,” opens the record with authority. A mid-paced blues rocker, it pairs booming, expressive vocals with finely sculpted lead guitar lines that cut through the mix. It also immediately highlights the production quality of the record. Clean yet punchy, the production allows the rhythm section to breathe while giving Mackenzie’s guitar plenty of bite.

“What You Do” follows as one of the album’s most immediate highlights. Driven by lavish organ textures and a sharp, biting riff, it brims with urgency. There is a tension in the performance that mirrors the song’s lyrical theme of emotional pretense, and the band locks in tightly around Mackenzie’s impassioned delivery.

“Don’t Know Where I’m Going” and “Frozen Hearts” continue the upward momentum. Both tracks showcase Mackenzie’s knack for memorable hooks anchored by confident guitar work. They are accessible without feeling formulaic, reinforcing his ability to bridge traditional blues sensibilities with modern blues rock dynamics.

“Shoot Me Down” adds a darker shade, with slightly fuzzy guitars and haunting vocals that linger. The tasteful slide work injects extra character and deepens the atmosphere. Closing track “Evil” brings things full circle with another punchy rocker, leaving the listener on an energetic high.

Overall, Empty Chairs is a strong, cohesive statement. It does not reinvent the genre, but it executes its vision with conviction and polish. With sharp songwriting, commanding performances, and production that hits hard without losing clarity, it stands as further proof that Spencer Mackenzie is one of the most compelling voices in today’s blues rock.

The Review: 8/10

Can’t Miss Tracks

– What You Do
– Don’t Know Where I’m Going
– Frozen Hearts
– Shoot Me Down
– Evil
– Empty Chairs

The Big Hit

– Empty Chairs

The post Spencer Mackenzie: Empty Chairs Review appeared first on Blues Rock Review.

Ever shrouded in mystery, the enigmatic collective Misotheist emerges from their icy realm to deliver succor to fans of metals black and arcane. De Pinte, the band’s fourth release, roughly translates from Norwegian to ‘The Tormented’ or ‘They Tormented,’¹ a fitting appellation given the Trondheim troupe’s fondness for tortured topics and twisted themes.² At their core, Misotheist takes the oppressive atmosphere of Selbst and merges it with Mayhem’s pummeling impudence, then strategically adorns that union with subtle melodies and naked emotions that remind me of Decline of the I. Mostly, though, Misotheist sounds like Misotheist, and given Doom_et_al’s brazen glazin’ of their last couple albums, that’s not a bad path to walk. Right?

As with prior albums, Misotheist continues exploring the band’s sonic landscape within the context they’ve defined for themselves. Second-wave tempests reign supreme, broken up by leaden crawls and punctuated with antagonistic bouts of dissonance and harmony. Fans of the band won’t be surprised at De Pinte’s mix, once again donning the lo-fi trappings Misotheist is known for and imbuing the songs with buzz and crunch. With four tracks on De Pinte compared to the typical three, Misotheist manages their most accessible album to date by keeping the opening trio trim (for them, anyway) and comprising a tightly written side A. Overall, the refinement on De Pinte signals a keen band that understands the path to greater success is one of degrees.

The first three tracks on De Pinte may be Misotheist’s best material yet, spewing counterbalanced discord and melody over varied paces in concise doses. The guitar twangs in “Unanswered Thrice” drop a wistful anchor of melancholy that tugs at the heartstrings over furious riffing and a bludgeoning drum performance, and “Blinded and Revealed” rumbles at an unhinged gait similar to Panzerfaust, injecting spidery leads over the blackened tumult beneath. It’s “Kjetterdom,” though, that stands out amongst on the A-side of the album, decelerating the momentum to an agonizing plod while the bass plays a pivotal melodic role that offsets serpentine guitar jangles. Throughout, the vocals cut and gut with what sounds like broken glass being ground in the back of someone’s throat, engendering an uncomfortable brutality that works seamlessly with the music. In all, the front half of De Pinte is loaded with great moments and potent songwriting, setting the stage for Misotheist’s longest song to date.

Though the heights of De Pinte surpass its predecessors, Misotheist hits a snag during the album’s last leg. The key to De Pinte comes down to tension, and where the front of the album excels here, “De Pinte” doesn’t quite stick the landing. Swirling, hypnotic trems play over rigidly metered bass drum blasts, and odd cymbal splashes jar proceedings out of orbit and into an exciting, dangerous crash course. The musical dynamics expertly weave to and fro, adventurously shifting the song’s velocity over a twenty-minute run that always shocks me with how fast it slips by. Misotheist’s dedication to atmosphere and tension throughout “De Pinte” is magnificent, and it’s baffling when so much time gets spent forging tension to have De Pinte just… end. There’s no big release. No catharsis. It might have been easier to look past if Misotheist hadn’t committed the same sin at the end of Vessels by Which the Devil Is Made Flesh, too. Despite how great the rest of the album is, the lack of fulfillment leaves me hollow, and the impact is outsized since this is a listener’s final impression.

Make no mistake, Misotheist brings the goods with De Pinte, and any fan of metal should find plenty to like on it. Though I’m disappointed with the lack of a fulfilling climax, I regularly find myself looking for forty minutes to sneak in another listen. Unquestionably great moments permeate the album, and while I’m disappointed with its final, crucial juncture, Misotheist’s latest is a must-listen in a month flush with quality releases. Don’t miss it, or the choice could come back to torment you.

---

Rating: Very Good!
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Terratur Possessions
Website: Bandcamp
Releases Worldwide: February 20th, 2026

The post Misotheist – De Pinte Review appeared first on Angry Metal Guy.

Individually, Sarah McLeod and Dallas Frasca are two of the most powerful voices in Australian rock. Not only have they both had successful careers – McLeod with The Superjesus and Frasca with her band of the same name – but they have both contributed much more to the Australian music scene via other roles within […]