SHEcrIES

The birthplace of SHEcrIES group was the city of Komsomolsk, Poltava region, Ukraine, where in 1991 the young amateur ‘fathers’ named BELLO aka BELLADONNA (meant ‘deadly night-shade’) and GRINDER aka VAN HELSING claimed the duo to exist. The reason for duo-cooperation was lack of mentally appropriate humans eager to put strength, loyalty and time on the altar of routine for the sake of future mind prosperity and self-actualization. The 1993 saw WHITE aka WHITE, the amateur guitar player, his looks reminding some kind of the magician from ‘Warlock’ film (nothing more then appearance...). With his clinging to the duo they started functioning as a high-grade amateur band and from this moment the young triple-headed dragon learned to feed his technical and emotional greed by means of experimenting with 7 notes. The result was SHEcrIES 1994 demo ‘TRUE WOMAN TEARS’ stylistically close to doom-death. Demo was distributed free among narrow circle of closely connected people for a try. Of course, the band took part in concerts arranged in Komsomolsk and Kremenchug, one of them was the fest organized in Komsomolsk and named ‘DEATH HARMONIC’ which housed bands and fans from Kiev, Poltava, Svetlovodsk, Kharkov. It was the fest where ‘SHEcrIES’ gained first experience of fans respect and even undeserved hidden jealosy from the side of deprived inhabitants. The 1995 became the year of growth for the band as it was joined by ALEXANDER K., the Komsomolsk best-titled guitar player, who came back from army to the native folks. The new material had already been on hands and it was animated in a form of the second demo ‘CONSTANCY of MISERY or MIRRORS SCARED to SHOW EXHAUSTED ONES’ closer to doom-metal. Then the next ‘DEATH HARMONIC” fest took place and new material was tried in public further resulting in the invitation from the part of ‘INNERCELL’ (Kiev) which was headlining the fest. ‘SHEcrIES’ being proposed to take part in representation of ‘INNERCELL’ new album ‘Meditation and Pain’ in Kiev managed to touch the hearts of many sophisticated Kievits. The 1996 saw ALEXANDER K. leave because of the gaps in personal preferences and kharismas. Noch einmal die Dreipartei... The new material was worked on and in 1997 the release of the new album ‘TOUCH TO SACRAMENTO’ was attempted by the Ukrainian lable ‘MOONrecords’ in Kiev. Unfortunately, it was not accepted properly by Ukrainian public because of the bad promo though the doom web-zine www.doom-metal.com gave it its positive and favourable response. Only after seven years some native doom-metal judges sluggishly recognized ‘TOUCH ..’ as even ‘doom-metal etalon’ as it was called within Ukraine music area. It should be mentioned, that in creating of ‘TOUCH TO SACRAMENTO’ and further concerts with the material LORA (keyboard) was involved. But it didn’t last long and in 1998 the band left the stage for quite a while. The 2002 let us heard the band again. What’d been happening during that quiet period is left unknown, but rumour has it, the collaboration with ‘MOON’ proved to be unsatisfied (if not damaging) as well as indifference from the part of organizers, not to mention the routine existence of every amateur group, all mentioned kept the band in the ‘half-life’ phase. The band reappeared in public in 2002 (though at local concerts but vital and with new material). The above-mentioned silence and all the events are presumed to be the main causes for style alterations and their new works became more rigid if not aggressive. It was no longer mere doom music though BELLO..GRINDER..WHITE ideas were still recognizable. The end of 2003 gave fresh blood to the band in the face of profi WHITAL (guitars) previously acting in Kremenchug band ‘MORANA’, and they altogether started grinding new musical thoughts. Their combined efforts ultimated in travailing a pile of new compositions (13, if I’m not mistaken) roughly named ‘4 VIVISECTED SOULS’. The ties between music and lyrics were always reciprocal, and the new-born product is meant to emphasize on that fact as it is no use trying to feel any piece of the new material without rendering appropriate attention to each component. In other words, ‘4 VIVISECTED SOULS’ is not mostly supposed to be heard but LISTENED. It is a great deal of pity that for some reasons it is not quite possible to take pleasure of analysing the product and the concert equipment leaves much more to be desired to appreciate live performances of the work. Some parallels were made by those who have already heard the works with TOOL or A PERFECT CIRCLE, but more rigid... Search for the lable to deal with, that’s how the year 2007 opened for the body of ‘SHEcrIES’. It is purely undesirable for ‘4 VIV. SOULS’ to be propely appreciated after 5 years or so.. It’s not the wine... RESPECT 2 ALL WHO CARES
information, photo from: http://www.myspace.com/myshecries