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Rocky Gray is a Musician/Producer from Arkansas most recognized as a former member of Grammy Award winning, multi platinum goth rockers Evanescence and is a member of We Are The Fallen and Living Sacrifice. 
As an avid horror fan he has composed the scores for many feature films in the genre as well as short films making him one of the most in demand composers in the indie horror film world. 

Rocky is also a composer for the video game Killing Floor 2, a game series that has sold nearly 10 million units worldwide.

His first horror inspired solo effort ACCURSED was released on September 30th 2014, this album lead to him composing the original motion picture soundtrack for Nevermore Production Films 80's slasher throwback The Barn (available from Lunaris records on vinyl and cassette and digitally on all music streaming platforms).

Since scoring The Barn he has gone on to score the feature films Volumes of Blood II: Horror Stories, Close Calls (along with its full length documentary Red Phone Diaries), In Memory Of, 10/31 & 10/31 Part 2, Maniac Farmer,

Robowoman and Out of the Fight  with more features and shorts scheduled for release in 2020.


Reviews of 'ACCURSED':


"It is abundantly clear that Rocky Gray is a fervent fright film fan, based on his instrumental horror-influenced album 'Accursed'.  The record is soaked in the blood of terror cinema, while delivering a unique and powerful rock experience.  I highly recommend 'Accursed', a dark ride through horror film nostalgia, and a mad descent into auditory thrills and chills."

- Eric Stanze, director of SCRAPBOOK, DEADWOOD PARK, and RATLINE


"Rocky Gray's 'Accursed' album is the best soundtrack to a movie that never was. Whether it's a late 70's grindhouse pic, an epic occult film, or even a straight up slasher flick, Rocky uses his deep knowledge of these films and their soundtracks and combines them with his musical talents to create a completely original album that is also hauntingly familiar. This is Rocky's love letter to horror soundtracks of the last few decades, and it is amazing."

- Ben Scrivens, FRIGHT-RAGS.COM



"The concept of the imaginary soundtrack is such a cool idea; its a wonder that more musicians dont indulge in making them. Creating music to a film that only exists in the imagination must allow artists to give full reign to their most visionary of sounds, unencumbered by the demands of directors, editors, or movie studios. Artists as diverse as Barry Adamson, David Holmes, Olivia Tremor Control and Symmetry have all conjured up pretend cinematic music for the mind and body, while entire labels like Cineploit have created their own alternative soundtrack universe, releasing scores for films that never were but should have been. Stomping all over this genre of conjecture is the newest release from Rocky Gray, Accursed. Gray is a one man metal machine, a multi instrument virtuoso who has played in a variety of bands such as Shredded Corpse, Living Sacrifice, Soul Embraced, Mourningside, We Are the Fallen, Evanescence, and Machina, and this wealth of musical experience informs the different styles featured on Accursed. Clearly, Gray is not only a music aficionado but a horror film connoisseur too, as the selections on Accursed sound like they have been ripped right out of the belly of the grindhouse. Starting off with the Fabio Frizzi goes industrial pound of Cannibal, Accursed references icons of horror film music like Goblin, John Carpenter, Ennio Morricone, and Claudio Simonetti , but establishes an original atmospheric sound that is referential but not slavishly imitative. Grays ability to genre hop from punk-metal to synthesized orchestration to euro disco to dissonant slabs of noise keeps Accursed exciting and unpredictable. Perhaps the finest tracks on Accursed are Cemetery Ghoul and It Ends with an Exorcism, songs that had me convinced I had heard them in Lucio Fulcis gory epics but are solely the products of Grays sinister sonic palette. Rocky Grays Accursed allows us to experience the joys of horror soundtracks but free of the overpowering visual associations that film music often has, encouraging the listener to be the director and indulge in our own personal dark visions."


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