Reviews: SAT189
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Despite the seemingly adamant rule pronounced in our site’s title, it should be apparent by now that we do make exceptions, and we’re about to make one now — or at least a partial exception. And in the case of the Greek band Horrorgraphy, the clean vocals are a vital, indeed an essential, ingredient in the music, for reasons you will soon discover.
Horrorgraphy are a new band, and their substantial debut album Season of Grief is set for release on April 14th, jointly by the Russian label Satanath Records and the Finnish label United By Chaos. The track we present today is “In A Dark Time“.
The music on this new album was composed, mixed, and mastered by a single individual — Dimon’s Night — and he performed all the instruments as well. To fulfill his conception for the music, he enlisted three different vocalists: a female soprano (Marialena Trikoglou), a man who also sings (Seek), and a death-growler (Pain). And that conception is unabashedly theatrical.
In listening to “In A Dark Time“, for example, the listener can’t help but imagine that they are hearing the soundtrack to a doom-metal musical play or extreme rock opera, one in which events unfold in narrative fashion — events that evoke feelings of gothic horror.
Across this unfolding preternatural pageant, in which tension builds, crests, subsides uneasily, and surges again to new crescendos of fear and emotional power, there are unifying musical themes, first introduced by piano and symphonic strings and then given ominous weight through the joinder of heavy riffing and drumwork.
The energy ebbs and rushes as this musical play proceeds, including spooky, keyboard or drum-driven interludes and surges of galloping percussion and rapid-fire fretwork. But the most dramatic (or perhaps more accurately, melodramatic) accents in the music come from those three voices, each of them taking center stage at different points, and sometimes joining together to magnify the moments of highest intensity.
Not all metal fans will have a taste for this kind of frightening theatrical extravagance, but fans of such bands as Therion and King Diamond may well embrace it whole-heartedly.
http://www.nocleansinging.com/2018/03/27/an-ncs-premiere-horrorgraphy-in-a-dark-time/
Greece is no stranger to amazing extreme metal with bands such as SepticFlesh, Varathron, Rotting Christ and Necromantia. Well today we bring you another one to add to the list. Horrorgraphy is a symphonic doom metal band who recently released their debut full length this year on Satanath Records. The band has a unique lineup structure as it is one person doing all instruments and three vocalists including a female soprano singer. Each song is a change as it can have melodies that bounce around from a gothic metal sound then go into a doom death style riff. The best part of this album is the almost 90s gothic doom metal vibe similar to that of The Sins of Thy Beloved and Tristania.
The vocals feature the beauty and beast trade offs which is not anything new but Marialena Trikoglou’s singing raises the bar on this album. The vocals by both Pain and Seek do compliment her singing as stated before, reminiscent of The Sins of Thy Beloved. The track Ghosts has a similar style to that of Trail of Tears track “A Fate Sealed In Red” without sounding like a copy. Trikoglou’s singing on this track is very haunting as she hits notes that compliment the guitar work on here. This album does have the doom metal aesthetic to it but also does a great job of adding other elements to the sound which is a big plus. The track “Hauted” also has a unique flare as it starts sounding almost like a circus but picks up and becomes surprisingly heavy.
Now myself being a big fan of The Sins of Thy Beloved and old Tristania, this album did an amazing job of keeping the symphonic doom sound alive but have a listen yourselves, you will be pleasantly surprised. If you are fans of The Sins of Thy Beloved, Tristania, Darkwell and even Nighwish, then grab this album! I highly recommend this release as being one of the most unique and captivating releases so far this year.
https://metalpurgatorymedia.wordpress.com/2018/05/12/horrorgraphy-season-of-grief/
La recente uscita dei Therion, viste le sue dimensioni inusuali, dovrebbe aver placato per un po’ la sete di symphonic gothic metal degli appassionati.
Diviene così ancora più difficile per le band minori trovare nuovi spazi in un settore che di suo è già sufficientemente inflazionato, figuriamoci poi se uno dei nomi di punta se ne esce con tre ore di musica inedita.
Ci provano ugualmente i greci Horrorgraphy a ritagliarsi uno spazio, con questo lavoro d’esordio che non nasconde in alcun modo la devozione nei confronti dell’opera di Christofer Johnsson.
Il tutto avviene, ovviamente, senza che a disposizione ci siano né i mezzi né il talento per avvicinare quei livelli, ma nonostante ciò il risultato finale non è affatto deprecabile.
Dimon’s Nigh, già incrociato con altri suoi progetti come Humanity Zero e Inhibitions, si occupa di tutta la parte musicale e si avvale di tre voci, quella femminile di Marialena Trikoglou e quelle maschili di Pain e Seek.
La configurazione, sia detto con il massimo rispetto, sembra quella di una sorta di Therion dei poveri e quello che ne deriva non può che essere inevitabilmente un discreto surrogato e nulla più.
A livello compositivo Season of Grief mostra buone intuizioni, mentre la perfezione sonora ed esecutiva delle opere johnssoniane è piuttosto lontana; meglio quindi allorché gli Horrorgraphy spingono in po’ più sull’acceleratore, dato che nelle parti più evocative e rarefatte certe carenze (voce femminile e chitarra solista in particolare) tendono ad emergere più nettamente.
Season of Grief alla fine si lascia ascoltare ma, quasi ad avallare l’impietosità del confronto, la band greca piazza alla fine la cover di The Rise of Sodom and Gomorrah che definisce con chiarezza la distanza siderale che spesso intercorre tra i maestri di un genere ed i loro volenterosi epigoni.
https://metaleyes.iyezine.com/horrorgraphy-season-of-grief/
Horrorgraphy are a band from Greece that plays a symphonic mixture of goth, doom and death metal and this is a review of their 2018 album "Season Of Grief" which was released as a joint effort by Satanath Records and United by Chaos.
Symphonic sounding keyboards start off the album and also mix in with the heavier sections of the songs along with the slow riffs being heavily rooted in doom metal while the riffing also utilizes a great amount of melody and when female vocals are used they give the songs a more operatic feeling.
All of the musical instruments on the recording have a very powerful sound to them while death metal growls can also be heard quite a bit throughout the recording along with the clean male vocals also adding in a touch of goth as well as a brief use of black metal screams being added to a few tracks.
Some of the songs are very long and epic in length while the music also has its avant garde moments at times and as the album progresses the music speeds up briefly and also introduces blast beats onto the recording along with one track also adding in a small amount of Asian folk instruments, spoken word parts can also be heard briefly and they close the album with a cover of Therion's "The Rise Of Sodom And Gomorrah".
Horrorgraphy plays a musical style that takes symphonic, goth, doom and death metal and mixes them together to create a sound of their own, the production sounds very professional while the lyrics cover dark, depressive and occult themes.
In my opinion Horrorgraphy are a very great sounding symphonic mixture of goth, doom, and death metal and if you are a fan of those musical genres, you should check out t his band.
http://hatredmeanswar2.blogspot.com/2018/05/horrorgraphyseason-of-griefsatanath.html
Álbum de estreia dos gregos Horrorgraphy qye parece que perderam o comboio e só conseguiram chegar agora aos escaparates. Isto porque "Season Of Grief" soa-nos a qualquer coisa que poderia muito bem ter sido lançada no final da década de noventa. Os arranjos orquestrais movidos a teclado (que parece que hoje em dia já não tem o mesmo efeito, principalmente de tudo agora arranjar orquestras ou pelo menos samples muito bons de orquestras para dar o mesmo efeito), a voz feminina operática arraçada de soprano, com a distorção não muito impressionante a surgir acompanhada de gutural e registo mais rasgado por cima de estruturas e melodias estranhas e complexas. Tudo que na teoria parece que resulta e, de certa forma até resulta mas não deixamos de ter a sensação de que falta algo. Bem, como bons anfitriões que somos, teremos que dizer bem vindos, no entanto, não deixa de ficar o desejo que exista uma evolução para fora deste ponto que nos é apresentado agora. Destaque no entanto para a cover dos Therion, "The Rise Of Sodom And Gomorrah", o primeiro dos trabalhos da banda sueca com uso a orquestra. Curiosamente, resulta.
Horrorgraphy are a symphonic doom metal band from Greece and this is their debut album.
Here’s a rather unusual release, (for 2018 at least), both in form and consistency; the band is made up of three vocalists and one multi-instrumentalist, while the music is layered old-school doom metal, with a firm symphonic side and rich melodies.
So yes, three singers; two male and one female. The female takes care of soprano vocals, and her voice is both accomplished and powerful. One of the males provides the harsh growls, while the other performs Gothic-tinged clean singing.
The music is made up of eight original compositions, crowned by a Therion cover, (The Rise of Sodom and Gomorrah); the latter should also give some indication of the band’s musical output in their own songs, albeit one that’s filtered through the lens of other old-school bands.
Musically then, we’re in the territory of a symphonic version of old-school doom metal. On one hand it might help to think of a Gothic, ostentatious incarnation of classic bands such as Paradise Lost, Anathema, and My Dying Bride to get a good idea of the types of realms that Horrorgraphy operate in. However, even with this in mind, it might be even more appropriate to visit Norway to be put in mind of groups such as Tristania, Trail of Tears, Peccatum, The Sins of Thy Beloved, and even a touch of Arcturus. Either way, you get the general idea.
The keyboards are symphonic, and atmospheric, as well as having quite a theatrical feel in places. This theatrical component leaks out into the rest of the music too, although there’s more here than merely this. The guitars, for example, while having a certain amount of theatricality in their delivery, are mainly despondent and forlorn, conveying plenty of melody and emotive feeling in the leads.
Although heavily favouring the old-school, there’s some decent diversity in the songwriting across the album. We get occasional elements of folk, avant-garde, and black metal here and there, for example, and these simply add to the character and appeal of the music.
Season of Grief is an ambitious collection of songs that are involving and engaging in various ways. As with many things, it’s an acquired taste for sure. For me, this reminds me heavily of a lot of things I was listening to in the late 90s and early 00s, and would fit nicely into that era alongside some of the bands mentioned above.
Will this be to your own tastes? Horrorgraphy have enough talent for this kind of thing to be worth the effort to find out. Give them a listen.
https://wonderboxmetal.com/2018/06/24/horrorgraphy-season-of-grief-review/
Está claro que la música no son matemáticas y que la suma de una serie de elementos no deriva necesariamente en el resultado esperado. En esta ocasión, la suma de voces guturales y voces líricas como contrapunto, las escalas menores y orquestaciones góticas, no garantizan que la ecuación se resuelva en favor de la banda.
HORRORGRAPHY ha intentado seguir la senda de THEATRE OF TRAGEDY con aquel Velvet darkness they fear de 1996, pero quedándose estancado en aquella década, sin tener en cuenta cómo incluso los componentes de dicho grupo han evolucionado.
En este disco la voz operística llega a ser realmente cargante, casi al mismo nivel que el teclado en su configuración de clavicordio, lo que hace que por los oídos del oyente pasen los cortes sin poder decir a ciencia cierta en cuál está y si alguno merece una segunda escucha.
El único momento en el que la composición llama la atención es en la intro de “The march of the dead“, en el que las guitarras y la batería se aceleran, dando paso nuevamente a ritmos pausados y pesados con la voz operística y el clavicordio.
Respecto al sonido del disco en su conjunto, en lo que respecta a mezcla y masterización, también es otro aspecto que requiere un lavado de cara para futuros trabajos. Se identifican claramente picos en la grabación, instrumentos que van de atrás a delante, guitarras demasiado sucias… y el clavicordio. Todo el disco tiene un sonido maquetero bastante mejorable, la verdad.
Como ópera prima resulta una propuesta bastante pobre, tanto en lo compositivo como en la ejecución de los temas. Para futuros trabajos, deberían de evolucionar el sonido a algo más contemporáneo y no limitarse a vivir a la sombra del sonido “bella – bestia”.
https://subterraneowebzine.com/horrorgraphy-grc-season-of-grief-2018/
When the VM-Underground editor introduced me to the most recent promo list, it was inevitable for me to pay special attention to this band. And how not to do it if a long time ago I did not hear a style as special as this one. The union between Metal and the symphonic is not a new thing. Since the mid-nineties began to appear bands that were enrolled in this way, some new and others who changed their style to this route, as Therion. It was a new sound that refreshed the Metal panorama of that time.
The interesting thing in these bands was the feeling they conveyed, between darkness and mysticism. These characteristics made them fit comfortably among the Doom and Black Metal followers. However, with the pass of time, the style was migrating towards less intense, musically lighter and digestible formulas. For that reason to run into Horrorgraphy is a great thing because, well away from the mainstream, they bet on the darkness of old symphonic metal, in this case something linked to Doom Metal.
This album begins telling clearly what the band is. “In a Dark Time” is a very heavy piece, with harmonisations everywhere and enchanting choral voices, among them that of the soprano Marialena Trikoglou that is fundamental in the whole journey that this album represents. This theme explains very well what we will find later, a composition full of darkness and with stops that down the gloomy sense. “Ghosts” is the next track, much spookier, with a more relevant keyboard and a varied set of voices that include the gutturals of law. “Haunted” is the third song and it turns out to be a very attractive sound experiment, with progressive touches and parts somewhat complicated to define, but which transform the music into a horror tale. “The March of the Dead” is the wildest cut of the disc, with extreme voices in the foreground and a style close to that of Septic Flesh (in reference to melodic Death Metal). However, during the theme they resort again to the “horror story” which satisfies in a great way. “Join Me in Suicice” is a piece that shudder you, with the soprano voice reaching really surprising levels and the keyboard obscuring everything. You can feel that you are sitting in an armchair watching a work in the Grand Guignol, that project that brought the horror to the theatre of Paris in the last decade of the XIX century. The album concludes with “The Rise of Sodom and Gomorrah”, a cover of Therion. In fact, this version made by Horrorgraphy is darker and more provocative.
If you enjoyed old Tristania or The Sins of Thy Beloved, it will be very well received in your collection.
http://www.vm-underground.com/review/horrorgraphy-season-of-grief/
When the VM-Underground editor introduced me to the most recent promo list, it was inevitable for me to pay special attention to this band. And how not to do it if a long time ago I did not hear a style as special as this one. The union between Metal and the symphonic is not a new thing. Since the mid-nineties began to appear bands that were enrolled in this way, some new and others who changed their style to this route, as Therion. It was a new sound that refreshed the Metal panorama of that time.
The interesting thing in these bands was the feeling they conveyed, between darkness and mysticism. These characteristics made them fit comfortably among the Doom and Black Metal followers. However, with the pass of time, the style was migrating towards less intense, musically lighter and digestible formulas. For that reason to run into Horrorgraphy is a great thing because, well away from the mainstream, they bet on the darkness of old symphonic metal, in this case something linked to Doom Metal.
This album begins telling clearly what the band is. “In a Dark Time” is a very heavy piece, with harmonisations everywhere and enchanting choral voices, among them that of the soprano Marialena Trikoglou that is fundamental in the whole journey that this album represents. This theme explains very well what we will find later, a composition full of darkness and with stops that down the gloomy sense. “Ghosts” is the next track, much spookier, with a more relevant keyboard and a varied set of voices that include the gutturals of law. “Haunted” is the third song and it turns out to be a very attractive sound experiment, with progressive touches and parts somewhat complicated to define, but which transform the music into a horror tale. “The March of the Dead” is the wildest cut of the disc, with extreme voices in the foreground and a style close to that of Septic Flesh (in reference to melodic Death Metal). However, during the theme they resort again to the “horror story” which satisfies in a great way. “Join Me in Suicice” is a piece that shudder you, with the soprano voice reaching really surprising levels and the keyboard obscuring everything. You can feel that you are sitting in an armchair watching a work in the Grand Guignol, that project that brought the horror to the theatre of Paris in the last decade of the XIX century. The album concludes with “The Rise of Sodom and Gomorrah”, a cover of Therion. In fact, this version made by Horrorgraphy is darker and more provocative.
If you enjoyed old Tristania or The Sins of Thy Beloved, it will be very well received in your collection.
http://www.vm-underground.com/review/horrorgraphy-season-of-grief/
Greek “symphonic doom” act. They cover Therion, so you kind of know
what to expect: female soprano vocals, grand piano bits, silly growly
“beauty and the beast” style male vox, mids-heavy distorted guitars that
drop in and out of the mix.
What really predominates, though, is a sub-Cradle of Filth, rather Tim
Burtonesque exaggeratedly goofy “gothic horror” feel that’s trying to be
more large scale symphonic than budget and band size allows.
You could say it’s a cross between the aforementioned bands’ gothic
symphonic black metal and straight up gothic symphonic metal per se,
but doom? An obsession with death, ghosts and cemeteries lyrically
doesn’t change a leopard’s spots.
Doom? No, not in the least.
If you like what’s being described, then yeah, they pull off an interesting
enough variant of the Therion/CoF school of symphonic black metal, with
more soprano vox and a lot less blastbeat nonsense than usual.
Didn’t exactly hate it, no.
Да, на 4-й минуте я врубился, что наследие Терион исследуется греками очень вдумчиво, от слова DOOM. Поймал себя на мысли, а еще подумал: причем здесь Кинг Даймонд (согласно пресс-релиза). Ну, до этого, может быть, дойду попозже...
Симфоник дум метал, такие тэги приваривает издающий лейбл, сами пишут симфоник метал. И еще заметил, рассматривая буклет, что это как ни удивительно — проект одного человека + три вокалиста, женщина на сопрано и брутальный и чистый мужской вокал. Неслабо так. Причем вокалистка обладает, мне так кажется, лирико-драматическим сопрано, которое мощно ложится на инструментал, жестко задает тему и ведет ее неумолимо. А в лирических местах обрабатывает партию как сирена, не полицейская сирена, а из греческой мифологии, которая унаследовала от матери Музы божественный голос.
По факту - главный творец музыки Dimon's Night решил не мелочиться, а пригласить трех необходимых ему для каждого определенного случая певца, который каждый на своем месте, сделает то, что ему полагается. Тем более, что на протяжении диска композер создал множество коловратных точек, где идет взвихрение материала, где разворачивается и сворачивается музыкальный смерч, в котором вокальные партии часто играют решающую, а иногда подчиненную роль.
Симфоник дум метал? Симфоник дум-дэт метал — так лучше будет, потому что композер неоднократно обращается к более силовым решениям, брутальным и нетолерантным.
И надо конечно уточнить, что несмотря на некие сравнения, тэги и прямые линки на других исполнителей, группа HORRORGRAPHY в итоге выдала собственный металл, (потому-то то она так хитро прописалась в своем фб). Симфонический металл — мрачный, буквально хтонический, выползающий из подземных дыр и пещер, грозный при том и скорый на расправу. То есть вполне дееспособный и агрессивный объект, а не чья-то бледная тень — копия.
Мне нравится гитарное исполнение нашего мульти-инструменталиста, оно четкое, видимое и слышимое, - НЕ скрывающееся за стеной звука, и НЕ засемплированное сто раз.
Здесь неимоверно тяжело выделить что-то из этого каскада неоклассической тяжелой музыки, НО, я сделаю это. 06. Her Violin Sings At Night. Средневековые клавиши порвут в клочья ваши билеты в Большой театр, а мяукающие проходы вокалистки (или это терменвокс?) пропилят вдоль мозговых извилин, далее - дэтовый штормящий участок, реактивный, с гроулом и туда же баритоном, вскоре подъедут духовые инструменты, - назначать грозовую эпичность, все это будет обрабатываться дэтовым артобстрелом, а потом опять ураганом. Неоклассик-кусок будет спроецирован на красно-черное полотно, которое дополнится элегическим думом и женскими двумя вокалами, далее два чистых вокала - женский и мужской составят удивительную для нашего бесшабашного металла вокальную партию, более пристойную для некоей оперы, чем для металлического трэка.
Подчеркну, в финальном саунде режиссер выводил все инструменты так, чтобы они были слышны ясно и четко. Это может быть и несколько непривычно для металла, как-то отдает олдовым звуком, когда ранее стремились подать мастеровитого музыканта, в противовес - когда нынешние стремятся скрыть или замазать недостатки и непрофессионализм. Но в целом — все на пятерочку, и в конце концов слушатель понимает, что он будто присутствовал при рождении этого шедевра.
На сладкое 09. The Rise Of Sodom And Gomorrah (Therion cover). Творец HORRORGRAPHY решил пройти рядом с оригиналом. Ну что ж его выбор. А ведь мог бы и (ножичком пырнуть) сделать БОЛЕЕ свою версию, мне кажется ему есть что сказать.
Исключительно мрачный артворк этого диска исполнен художником конторы Paint-It-Black Design, нашим старым знакомцем, который одел не один десяток металлических альбомов.
https://vk.com/wall216331265_3547
After I gave this a listen my thoughts were to pass on it. But since this comes from Satanath Records I figured OK lets give it a chance. This label in the past has always produced some straight up genre releases whether they were black or death metal. So they've invested in something off the mark. Alright I'll give it the o'l Mr. Wolf third degree. They'll hate it of course.
Imagine if you will a doom metal version of NIGHTWISH. Oh yeah and they're from Athens, Greece. Alright so to you dedicated readers as well as haters of this blog I'll fuckin admit that I like some NIGHTWISH. Thankfully I don't allow comments by haters but I digress. This band does allow three vocal styles to purge through their variety of tempos.
The first is the operatic vocals sung by a woman who could've been a stand in for Tarja Turunen. Then again that would be Floor Jansen. Be that as it may you've also got two guy singers with one doing harsh death metal type growls while the other one adds these clean Gothic priestly vocals. Musically this is a combination of NIGHTWISH's Century Child and CANDLEMASS's Ancient Dreams.
Stalwarts of both camps will be pissed off but hey while listening to this late at night I think it's cool. I mean like this is new compared to being depressed and stoned as far as doom metal is going. This release will be on my year end best of doom metal releases simply because it's unique. Hell next year they'll be the next big thing. Hopefully it won't be just because they took a THERION cover, "The Rise Of Sodom And Gomorrah", to new heights.
https://scumfeastzineblog.blogspot.com/2018/11/horrorgraphy-season-of-grief-review.html
С неба, па у ребра (без претходних демоа, синглица, сплитова и сличног), дебитантски албум бенда из Грчке који свира симфонијски doom метал. Horrorgraphy се састоји од 4 индивидуе: лепше четвртине која је задужена за текстове и добар део нежних и опијајућих вокалних деоница, два мушка вокала и још једним мушкарцем који потпусује целокупан део албума када је музика у питању.
Како издавач, Satanath Records, појашњава да се материјал који је овде презентован може свидети фановима Therionа и King Diamondа. Ја бих додао да је ово и за оне који воле Carach Angren, те српске Abonos и Tales of Dark. Ако сте се међу овим именима нашли онда је ово за вас. Ако нисте - идемо даље.
Ово је једно набијено емотивно метал издање назива Season of Grief. Све ће вам бити јасно ако послушате насловну нумеру (од 12 и више минута) која је предзадња на албуму. Она опусује стање једне особе која је изгубила некога ко јој је превише значио у животу, поставља питања, тражи одговоре и енергију да настави даље.
Пре него што се хронолошки дође до ње, треба пропутовати кроз 7 нумера и ту су саздане разноразне деонице које могу задовољити најширу метал публику. Заиста, овде има свега од ултрабруталних мушких black/death вокала, који се смењују са мушким clean вокалима, женским вокалом који опија својом нежношћу, као сирене на мору које вас утапају а ви се смејете и уживате у свему томе. Ово је све некако таман да не буде досадно или монотоно.
Додао бих да овде има доста готик и хорор атмосфере и у стилу певања и у текстовима и у музици, што није тешко закључити из свега до сада наведеног или (на крају крајева) из самог назива бенда. На крају ту је и солидна обрада групе Therion - The Rise of Sodom and Gommorah.
Све у свему један јако добар деби албум који захтева да му се приступи добрано и комплетно - текстови су обавезна ствар, иначе ће звучати као нешто сасвим просечно што сте већ чули много пута. С друге стране не кажем да је ово неко револуционарно остварење - то није сигурно. Мени је лично ово добро легло, поред силног black метала и других праваца којима смо затрпани. Season of Grief је дошао освежење које ме је вратило у доба када сам пре више година први пут слушао деби албума нашег Abonosа одмах по изласку. Horrorgraphy је дефинитивно бенд који бих волео да настави са даљим радом јер бих волео да чујем још.
https://ciklonizacija.blogspot.com/2019/05/horrorgraphy-seasonofgrief.html
Horrorgraphy Greece band presents its album 2018 Season of Grief, dark gothic symphony. A dark metal symphony that reminds us of the best records and times of Therion, quite simple muscia sometimes without falling into simplicity. It transmits a lot of feeling and desolacion, as these bands should be. In the vocal part we can feel the strength of the lyric voice throughout the whole album and the combination with the guttural and serious voice that leads us to very remarkable extreme passages. This new band is remarkable and quite pleasant lara the world scene. Greece continues to contribute much to our entire scene. 1. In a Dark Time 2. Ghosts 3. Hauted 4. The March of the Dead 5. Hounds of Hell 6. Her Violin Sings at Night 7. Join Me in Suicide 8. Season of Grief 9. The Rise of Sodom and Gomorrah (Therion cover) Only 500 copies of this work were released if you like the gothic metal scene, you can have in mind to make a copy, I recommend them, music for connoisseurs of good metal.
https://thelegionoftchortzine.blogspot.com/2019/08/horrorgraphy-greece.html
Interesantísimo disco debut de los griegos Horrorgraphy, y muy inusual por cierto, ya que la banda está compuesta por tres vocalistas y un multiinstrumentista, mientras que la música está firmemente enraizada en el metal sinfónico con capas de doom y gótico.
Con respecto a los cantantes, son dos hombres y una mujer. La mujer se encarga de la voz de soprano, uno de los hombres proporciona los gruñidos ásperos, mientras que el otro realiza cantos limpios y casi operísticos.
Luego de todo este detalle estoy seguro que el lector ya se estará haciendo una idea de cuál es la onda de esta banda, y sin dudas el cover con el cual finaliza este CD nos da la pauta final: Therion es mucho más que un referente para Horrorgraphy. Obviamente, se podrían nombrar otras (Anathema, Tristania, Nightwish, etc), pero en general ya vamos viendo que la sensación teatral y atmosférica, al igual que las melodías y sentimientos emotivos suman carácter y atractivo a la musica, y aquí es donde Horrorgraphy se diferencia principalmente de las bandas mencionadas, ya que la música es algo más rápida y más claramente definida.
“Season of Grief” es una ambiciosa colección de canciones que involucran características expresivas de la música sinfónica, que la banda tiende a crear mediante el uso de sintetizadores, teclados y algunos otros instrumentos, transformándolo en un álbum simple pero excepcionalmente mágico y oscuro.
http://rockarollazine.blogspot.com/2019/09/horrorgraphy-season-of-grief-2018.html
This one very quickly grew to be a fave of mine. Not being familiar at all with HORRORGRAPHY before this debut I didn’t know what to expect from this. but what I do hear makes me sit up and take notice. This Greek (where else could they be from) band mixes doom with gloom with black with experimental with whatever seem to come to their minds. This is some seriously twisted stuff. But not in an unlistenable way. This is highly entertaining. The journey that band takes me on is like a rollercoaster ride through the Netherworld. This one I will treasure for a long time.
http://battlehelm.com/reviews/horrorgraphy-season-of-grief/
Horrorgraphy was formed in 2017 in Athens/Greece. Their line-up is quite peculiar because of 3 vocalists they have in the band. The fourth and only person who plays on all instruments is Dimon`s Night . You may know him from other bands like Humanity Zero, Inhibitions...
The album has the expressive features of symphonic music, which the band tends to create by using synthesizers, keyboard and few other instruments. On the basis of metal sound, you can hear that Horrorgraphy likes to face slow, doom songs; In A Dark Times, Her Violin Sings At Night, S.O.G... They also find a use of little death metal in track The March Of The Dead. There would be nothing surprising in this album if not for a wide variety of vocals. Those moments when the band uses a combination of female sopranos with a deep, male growls sound very theatrical and operatic. A singer with clean vocals always finds a way to give interesting angle to his own voice as well. The music on this album is temptingly attractive and has long moments and even songs that make the ideas of this band significant and very special just for them. Many arrangements for the keyboard are carriers of an amazing atmosphere, which mixes grotesque and bizzareness, almost as in the era of Baroque music. Just incredible to hear it all and let your emotions to get manipulated for a while.
The studio production of the album is more underground and has no much splendor of Therion super productions but it has rather little influence on how I enjoy this album musically.
For me, the most important thing is that Horrorgraphy finds its unique ways to interest me in their music. This is thanks to incredible sopranos of Marialena Trikoglou and spirituality of music. Of course, the presence of Greek metal is here and waiting for you to be heard but in some sort of comparison, I would say that their music can give you much more feeling and vibe from 1920`s Nosferatu movie than anything else that you can hear in modern film or music productions. If you are interested in scene from Athens a bit, you know that ancient spirit of that country and old school metal for Greek metalheads has always been important for them and so is for Horrorgraphy in this record...
Season Of Grief is simple album but has something exceptionally magical and dark. Best example are tracks Ghosts and Haunted... These are really great and original songs that telling stories a bit like in musicals or on the stage of the theaters. I can hear amazing vocal ideas and narrations in this album and I really can`t get enough of it. All orchestrations and symphonic elements just intensify the impression of theatricality and emphasizes the beauty of drama in their music.
Season Of Grief is very original album without a doubt. Horrorgraphy has their own vision on their own songs and who knows, maybe they showcase the future of metal which has more in common with artistry than usual noise.
http://monarchmagazine.weebly.com/horrorgraphy-season-of-grief-satanath-records-united-by-chaos.html