国家：加拿大 成立时间：2004 乐队成员： Alissa White-Gluz – 主唱 Danny Marino – 吉他 Chris Kells – 贝斯 Simon McKay – 鼓 曲风：melodic death metal（旋律死亡金属），metalcore（金属核）

专辑：     
《Once Only Imagined》

2007年 8月 14日      01 - Synopsis      02 - Rise And Fall      03 - Born Dead, Buried Alive      04 - Take A Bow      05 - Trophy Kill      06 - Business Suits And Combat Boots      07 - Serendipity      08 - Memento Mori      09 - Void Of Sympathy      10 - Chiaroscuro  
11 - Forget Tomorrow 

《Once Only Imagined》专辑介绍：
Much has been made of the uphill battle fought by women as they try to make some inroads into the overwhelmingly macho world of heavy metal, and the good news is that there are ever more female metal heads joining bands and leaving their mark on par with the boys. The bad news is that progress in this arena is still painfully slow (although, if you were there in the non-spandex '80s, you know it's been a lot worse!) and for all the growing acceptance among even the most meat-headed headbangers, not all women in metal are necessarily helping their cause. Case in point, vocalist Alissa White-Gluz, of Montreal's Agonist, whose formidable singing, screeching and growling talents can't convey her eco-friendly lyrical preoccupations (and would prove darn near impossible to pull off live), nor excuse her group's competent but imminently forgettable brand of metallic deathcore. As profiled on their 2007 debut, Once Only Imagined, (rush-recorded shortly after the band's inception) Agonist's music is predictably stacked with forceful, down-tuned riffs, blunt-force breakdowns, dissonant squeals, and soaring melodies; all of them stale building blocks, the likes of which discerning metal fans have had more than their fill of, this late into the '00s. By the time the band tacks on a truly ear-catching piano coda to "Business Suits and Combat Boots," and comes up with semi-distinctive counterpoint melodies for album closer "Forget Tomorrow," most listeners will likely have moved onto something else. Unless they have an interest in White-Gluz's fetching good looks, that is, but that's hardly how she'd want to gain metallic acceptance, wouldn't you think? And in any event, like the aforementioned issue of her "green" lyrics, it all comes off feeling like diversionary tactics to cover up the album's abundant deficiencies -- better luck next time.


《Lullabies For The Dormant Mind》

2009年 2月 23日      01 - The Tempest (The Siren's Song; The Banshee's Cry)      02 - … And Their Eulogies Sang Me to Sleep      03 - Thank You, Pain      04 - Birds Elope With The Sun      05 - Waiting Out The Winter      06 - Martyr Art      07 - Globus Hystericus      08 - Swan Lake, Op. 20 – Scene, Act 2, #10 – Tchaikovsky ( A Cappella )      09 - The Sentient      10 - When The Bough Breaks      11 - Chlorpromazine

《Lullabies For The Dormant Mind》专辑介绍：
On the Agonist's first album, 2007's Once Only Imagined, most of the truly memorable musical fireworks were ignited by vocalist Alissa White-Glutz and her uniquely accomplished beauty-and-the-beast duality; all that her bandmates were capable of doing in response was echoing those moodswings with generic melodic metalcore. So the pressure to improve and diversify was obviously on the boys when time came for the Agonist to record their second album, Lullabies for the Dormant Mind, which, before you even ask, does find White-Glutz firing on all cylinders, once again. The good news is that, this time, so are guitarist Danny Marino, bassist Chris Kells, and drummer Simon McKay, who must have taken a crash course in "Advanced Metallic Subgenres" or something, because they are finally able to break out of those melodic metalcore shackles and put their substantial instrumental talents to good use behind their formidable frontwoman. As a result, highlights amidst standouts such as "The Tempest," "Thank You Pain," "Waiting Out the Winter," and "The Sentient" manage to frame White-Glutz's alternating bouts of sweetness and savagery with backdrops built from some of the most extreme heavy metal styles in existence: death metal, black metal, even grindcore! Simultaneously, the Agonist repeatedly interjects keyboards, both synthetic and straight-up piano, into most all of these songs, thus bringing the sophistication of classically inspired songwriting even unto the most chaotic of thrash-outs. The sheer schizophrenia of it all may prove a little disorienting, at first, but by the time we roll past the halfway mark, even the raga-flavored midsection of "Chlorpromazine" and the seemingly preposterous "Swan Lake" passage sung a cappella by White-Glutz seem to work in the context of the album's fearsomely eclectic creative wingspan. Not bad for a band that seemed to be hopelessly mired in a deteriorating subgenre just two years earlier; Lullabies for the Dormant Mind sees the Agonist rising to the challenge of topping


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