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 CARESinformation, photo from: http://www.myspace.com/myshecries
