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ATROCITY formed in 1985, and after releasing the demo, “Instigators” (1988), and
the “Blue Blood” EP (1989) on Nuclear Blast—to this day still a worthy
collector’s item—ATROCITY presented the world their debut, “Hallucinations” in
1990.
Following extensive and successful touring, ATROCITY released “Todessehnsucht”
(1992) on Roadrunner Records. They surprised the critics by integrating
classical elements into their music, including four opera singers. The bombastic
sound aroused cries of “Wagnerian” in the press and won ATROCITY the reputation
of being a band “with extremely complex songwriting ideas.”
After signing to Massacre Records in 1994, ATROCITY released “Blut”. The
vampirish concept shaped the entire album and beckoned the listener to roam the
threatening and dark scenery and fascinating atmosphere of Transylvania. The
creative result provided for an extremely positive reaction from press and fans
alike: ATROCITY disassociated itself forever from all possible categorization.
The two EPs released in 1995, “Calling the Rain” and “Die Liebe”, were the
logical consequence. “Calling the Rain” encountered such positive reactions that
ATROCITY decided to pursue this path consistently. With the support of Yasmin
Krull’s vocals, the band reached new atmospheric levels. “Die Liebe” was
ATROCITY’s first collaborative effort with the Das Ich mastermind Bruno Kamm:
Both acts arranged the songs of the other, so as to then interpret them together
in a new light. ATROCITY became a household name to the fans of Electro and
Darkwave with this hit.
“Willenskraft” brought ATROCITY’s past, present, and future together in 1996
with an array of brutal riffs, hymnlike parts, and atmospheric elements. “The
Hunt” EP, featuring brutal songs (incl. a remake of “Blue Blood”), was dedicated
to the “old-school” fans for their never-ending support.
In 1997, ATROCITY decided to explore new musical ground: The intention of “Werk
80” was to mutate the pop classics of the 80s into ATROCITY songs. The result
was a dance explosion in the rock clubs: “Wild Boys”, “Shout”, or “Der
Mussolini” had fans dancing and ATROCITY in the charts.
Shortly before the turn of the new century, ATROCITY released their first
greatest hits album, “Non Plus Ultra” (1989-1999), including many extras, and
premiered live on stage in the USA. The last and very successful chart album
“Gemini” (2000), released on Motor/Universal, took off from where “Work 80” left
off - the material integrated electronic elements and counted on a more
comprehensive essential structure, without neglecting the typical ATROCITY
originality.
Their latest album “Atlantis” represents a type of comeback, after a
three-and-a-half-year sabbatical, which could have hardly been better thought
out and spectacular. In proven tradition, the quintet is not content with
singular views, but rather prefers a concept that shapes the entire album:
“Atlantis is a very dynamic and musically complete work”, explains front man
Alex Krull. “It stands for bombastic, epic songs, in which heaviness,
atmosphere, and melody work together to tell the story of Atlantis and the
Golden Age. I am sure that many of our fans, who prefer the harder releases,
will be thrilled with this album.”
“Atlantis” torpedoes categorical thinking and explores the limits of the Metal
and Rock genres. Those who chose to stereotype the musical framework of
“Atlantis” will commit a grave error: “Reich of Phenomena” delivers bombastic
arrangements, blast beats, brutal riffs, and harsh vocals; “Superior Race” is a
double bass firestorm of blazing emotion and atmospheric arrangements; while
“Ichor” provides Death Metal with an epic alternative and “Enigma” dares to
journey into the world of opera. In order to not only captivate the listener
musically, “Atlantis” features a multimedia section with detailed information
about Atlantis. |
