Customer Reviews

Symphonic Holocaust

5 star:		(6)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This is one awesome record.
Featuring musicians from two of my favorite Swedish bands,Anekdoten and Landberk.
Their music is influenced by the Italian music of Museo Rosenbach,Goblin and Fabio Frizzi (aka. Vince Tempera).
This collection is an interpretation of several "well known" themes from Italian Horror movies.
Also some newly written pieces.
Buy it if you can find it!!
Recommended!

To be blunt, the glory days of Progressive rock ended during the 1970's. While I have appreciated the good intentions of many of the bands who have since tried to recreate those glories, unbiased observation yields the sad conclusion that most of the later groups who try to carry the banner are mere unoriginal tribute bands.

Most evident is these bands' general lack of compositional skill and, in particular, their inability to compose memorable themes (although several of these musicians can fly up and down the keyboard or the fingerboard with the best of their predecessors!). Morte Macabre, however, has resolved the problem of general lack of original compositional skills by covering the works of better composers than they. In doing so, they do not spread their own compositional or improvisational abilities too thin, which makes their original contributions to this CD quite memorable.

What is more, Morte Macabre has for the most part taken an original path. Not only do they cover mostly horror film themes, but, in particular, they cover themes from neglected Italian horror films of the 1970's. This approach also works well because, although most of the composers' original work covered here is not Progressive rock, it does partake of the same 1970's *Zeitgeist*, and therefore has a "feel" that is very compatible with Progressive rock, in general.

Contrary to the assertions of those who over-emphasize the "dark" aspects of this work, there is great variety here. From the "classic" progressive Mellotron sounds of "Apoteosi del Misterio", to the near-atonality of "Sequenza Ritmica e Tema", to the gentle and melancholic atmospheres of "Lullaby" and "Quiet Drops", *Symphonic Holocaust* displays both versatility and good taste. The musical arrangements are varied and imaginative, the selections are outstanding, and the playing is tasteful, yet virtuosic. What more can an admirer of Progressive rock ask?

As for the comparatively low review scores that *Symphonic Holocaust* has received here and elsewhere, I can attribute them only to incomprehension*, to queasiness over the subject matter of the CD, or to a simple backlash against the extreme (and perhaps overstated) acclaim that this CD received when it was first issued. No matter: *Symphonic Holocaust* stands as one of the very finest examples of post-1970's Progressive rock that I have heard. Highly recommended.


*The logic of the one Amazon reviewer who states that this CD "might not be as progressive as you might expect" completely escapes me, as does his assertion that Progressive rock doesn't get any darker than this. Has he ever heard any Univers Zero, I wonder?

To be blunt, the glory days of Progressive rock ended during the 1970's. While I have appreciated the good intentions of many of the bands who have since tried to recreate those glories, unbiased observation yields the sad conclusion that most of the later groups who try to carry the banner are mere unoriginal tribute bands.

Most evident is these bands' general lack of compositional skill and, in particular, their inability to compose memorable themes (although several of these musicians can fly up and down the keyboard or the fingerboard with the best of their predecessors!). Morte Macabre, however, has resolved the problem of general lack of original compositional skills by covering the works of better composers than they. In doing so, they do not spread their own compositional or improvisational abilities too thin, which makes their original contributions to this CD quite memorable.

What is more, Morte Macabre has for the most part taken an original path. Not only do they cover mostly horror film themes, but, in particular, they cover themes from neglected Italian horror films of the 1970's. This approach also works well because, although most of the composers' original work covered here is not Progressive rock, it does partake of the same 1970's *Zeitgeist*, and therefore has a "feel" that is very compatible with Progressive rock, in general.

Contrary to the assertions of those who over-emphasize the "dark" aspects of this work, there is great variety here. From the "classic" progressive Mellotron sounds of "Apoteosi del Misterio", to the near-atonality of "Sequenza Ritmica e Tema", to the gentle and melancholic atmospheres of "Lullaby" and "Quiet Drops", *Symphonic Holocaust* displays both versatility and good taste. The musical arrangements are varied and imaginative, the selections are outstanding, and the playing is tasteful, yet virtuosic. What more can an admirer of Progressive rock ask?

As for the comparatively poor reviews that *Symphonic Holocaust* has received here and there, I can attribute them only to incomprehension, to queasiness over the subject matter of the CD, or to a simple backlash against the extreme (and perhaps overstated) acclaim that this CD received when it was first issued. No matter: *Symphonic Holocaust* stands as one of the very finest examples of post-1970's Progressive rock that I have heard. Highly recommended.

The first time I played Symphonic Holocaust through I must have been distracted because my initial impression was that it was just OK. But after just sitting and listening a few more times, its odd beauty began to grow on me. Though its not nearly as uniformly dark and doomy as advertised, it is relentless in the way its vibes seep into your subconscious.
I have not seen any of the movies associated with the music here, so I cannot comment on how well Morte Macabre deepened the horror of the original themes. I have heard Krzysztof Komeda's soundtrack for Rosemary's Baby though and give the band high marks for their dreamy adaptation of Lullaby.
Symphonic Holocaust can be divided into several categories. There are those tunes of a truly darker bent such as Apoteosi Del Misterio, Sequenza Ritmica E Tema, and the epic title cut which gradually builds over more than a quarter hour of captivating music to a thundering crescendo. Then there are those that induce a rather pleasant torpor such as the previously mentioned Lullaby and the extremely relaxing Quiet Drops which reminds me of some of the more experimental work of Al DiMeola. Finally there are those which are neither particularly dark nor dreamy but are very good nevertheless.
For some reason, Sweden punches above its weight in the number and quality of prog musicians that it produces. Mort Macabre is just one more example of Swedish pre-eminence in the modern prog scene. If you are a serious fan of progressive rock, then Symphonic Holocaust is one album you must add to your collection. I certainly am thoroughly stoked to have chanced upon it.

_Symphonic Holocaust_ is a sombre instrumental masterwork, evoking Genesis and symph-ish King Crimson. Morte Macabre's compositional grace is a thing of wonder, wielding luscious mellotrons and delicate guitar lines with sparse percussion at the zenith of subtle craftsmanship. The band's splendid arrangements are complemented by perfectly tasteful sound production, minimalist yet rich. There is no proggy heavy-handedness here! The music tends to be dark and a little discomforting (especially if listened to in the solitude of the morning's wee hours), capable of bestowing weighty sadness. Even the major key "Opening Theme", triumphant and elated though it sounds, set against its lugubrious backdrop, it becomes rendered with wrenching bittersweetness. Slow and evocative, this is a remarkable, unheralded symph-prog gem. Not like what is common to the genre, _Symphonic Holocaust_ is an affecting paradigm shift of mood with an otherwise familiar instrumental recipe. Check it out!

This album takes music from horror & soft porn of the 70's and updates it (sort of). It has the atmospherics of progressive music of the era (it's not fair to compare, but think of early King Crimson meets Tangerine Dream), along with a dreamy, dark beauty. You will be pleasantly surprised.

A real masterpiece of modern progressive rock: members from Anekdoten and Landberk cover some of the best soundtracks from seventies horror movies.

The result is a true "Symphonic Holocaust"; an unmissable mix of progressive rock, gothic and ambient music the scandinavian way.

Recommended to Lucio Fulci fans, Swedish Progressive fans, Gothic Metal fans and music lovers in general. (5/5)

This album takes music from horror & soft porn of the 70's and updates it (sort of). It has the atmospherics of progressive music of the era (it's not fair to compare, but think of early King Crimson meets Tangerine Dream), along with a dreamy, dark beauty. You will be pleasantly surprised.

This is a one off project between two members of Swedish Progsters Anekdoten and Landberk, recording in their own style few obscure 70s horror soundtracks, and adding an epic of their own. While Swedish progressive rock is generally dark and melancholic,it does not get darker than this!!
Don't expect another Anekdoten or Landberk tunes here though, as I did, because although Symphonic Holocaust is not as accessible as the output of both bands, it is still a very original and creative project.The original epic Symphonic Holocaust is one of the darkest piece of music I heard in rock, guaranteed to give you a chill down your spine.
So Symphonic Holocaust might not be as progressive as you might expect, but it should certainly be in your collection as a unique one off album.
But a warning..don't listen to it with the lights out!!