. Satanath Records

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.

 

http://worldofmetalmag.com

 

 

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.

 

 

 

https://thirdeyecinema.wordpress.com/2018/08/21/hark-hence-cometh-another-august-september-descent-into-fall-roundup/