Category Archives: Music

Fat White Family @ Area51

It’s time to get down and dirty in Area51 with the most dangerous band of the moment: The Fat White Family. It’s been quiet in the skatecenter for a while, but music is being made in their refurnished concert hall.

The place was suffering from a lack of isolation for the sound, but that seems to be fixed with this new solution. Luckily, the grimy atmosphere is still there. Walking past the railing, visitors can see kids skate untill they face a black curtain, behind which the magic happens.

Fat White Family getting it on.
Fat White Family getting it on.

Todays show is one by the Gruismeel club, who’ve been putting up awesome psych shows in Eindhoven for a while now. One of their great talents seem to be to find the exact right location for shows.

Warming up is the band The Voyeurs, who capture they eye mainly due to their almost identical guitar players on the stage. Inspiration seems to come from the early garage scene of the artsy seventies and a bit of Iggy Pop. That results in a hazy sort of psych rock, where you can casually drift along with. The turtleneck sweaters are very noticable.

They calm sound of the five from London makes the a good warm-up for what is to come. Interesting is the fact that the band has roots in the middle-east, which might be detectable in their hypnotic sound. There’s something about this band that is captivating, but I find I cannot grasp it fully.

In between the set, DJ ONONiiONIONIION is playing a maddening mixture of what seems to be Eastern folk music, dance beats and Bollywood blitz. Though confusing some visitors, it is a detail to the night that creates a rather fun atmosphere. Better than to drown the crowd in fuzzed out psych, it opens up the bouquet of the bands a bit by letting it breathe.

Properly dressed still
Properly dressed still

Fat White Family has become notorious for their live act. There’s something fatalistic in their whole swagger. Frontman Lias Saudi makes you feel drunk or stoned (or both) by just the way he holds himself. The band needs no words and lunges into a set full of jangling punky tracks, mainly from their debut album ‘Champagne Holocaust’.

Wether you find them ridiculous or outrageous, there’s a strenght to this band and a conviction to simply not give a flying fuck about anything. Saudi soon has his t-shirt of, jumping into the crowd, shrieking and franticly dancing. In fact, I think he’d do the exact same thing if no one had turned up. The pants stay on however, which makes this an occasion where one can actually take a look at the rest of the band.

It’s that empty gaze of doom of guitar player Saul Adamczewski (formerly of The Metros)  that seems to embody the futility of it all that can be felt through songs like ‘I Am Mark E. Smith’, which is one that gets the crowd going. The band just throws itself at one song after another, of which the perverted tones of ‘Touch The Leather’ seems to be the peak of the set.

The band doesn’t last an hour, but that’s ok. Instead of making you think you had enough, they leave you hungry. That feels about right with these guys.

Sounds of the Underground #14

Some new sounds from the underground, worthy a checkout: Cairo PythianBigelf, Árstíðir lífsins and Toundra.

Cairo Pythian – Touched LP 

Source: Katorga Works

The cold sound of Cairo Pythian is touching upon a more melodic interpretation of Joy Division-despair. An element of Soft Cell and the more swirling sounds of the proto-Goth sounds one could hear in the early eighties is added to that. The group from Olympia, WA has surrounded itself with mystery, which ofcourse adds to their image and credibility.

Musically there’s a combination of that coldwave sound, sampling and industrial. On tracks like ‘Down For The Crown’ there’s a shoegaze-like buzzsaw riff pushing the song forward. ‘A-Sexual Cake’ is much more droning industrial again, which shows the range between which Cairo Pythian is doing their thing. There’s an avant-

gardist streak to their sound, remniscent of the progressive postpunk bands that started implementing industrial elements, like The Residents and Devo. They may be 30 years to late, but their album is a testimony of the lasting fun that post-punk offers.

Árstíðir lífsins – Aldaföðr ok munka dróttinn

Source: Bandcamp band

An Icelandic/German band that derives inspiration for their blend of folk and black metal from medieval literature from the land of fire and ice. They distance themselves strongly from the NSBM movement, which fills me with joy. Their music is peculiar, hauntingly natural at times and moments later a barrage of fierce riffing. I guess in a way this project sounds a bit like its inspiration.  Deep vocals tell stories over fingerpicking guitarwork, violins seem to play and set down a haunting atmosphere.

The songs are long and more focussed on atmosphere then on brutality. Slow, cascading riffs move forwards, while traditional singing creates a powerful feeling combined with tremolo guitarpicking, soaring high above. Tradition and extreme metal meet eachother half way and that feels like the right matchup. The release itself looks amazing as well, this is definitely one of the records you wish to return to. The feeling of ancient wisdowm, the haunting folk music and blistering black metal segments (which are lesser than you think) are right up my alley.

Bigelf – Into The Maelstrom

Source: Wikipedia

I’ve started to get into the whole prog thing a while ago, after watching a documentary from the BBC. It’s not a big leap to start listening to a band like Bigelf after that, who incorporate the brilliance of their predecessors like Pink Floyd, Caravan and whatnot with that Cambridge sound. Just add a little swagger to it and some heavy fundamentals and you’ve got a metallized version. Listening to this Bigelf album I must express doubts concerning how metal they are. They’re not heavier than, say, King Crimson in my humble opinion.

Bigelf is the brainchild of Damon Fox, who carries vocal and keyboard duties. ‘Alien Frequency’ is a good example of how the group Americanized the sound, making it more accesible and down to earth then their progenitors. The sound is warm and technical, grand and like a great story the songs unfold with the necessary effects and structured elemens. ‘Control Freak’ is another repetitive and captivating track. I’m amazed at how enjoyable listening to this record is. Though complex, it feels as if it’s open and accesible. Probably a good one to listen to in bed with headphones on, for the ‘Alien Frequency’.

Toundra – IV

Source: GetMetal.org

This Spanish band has just released their number four. I have no idea why its on the lists of new metal releases, but I’m glad it was. Gentle postrock with a folky feel to it, enriched with strings, right up my alley in many ways. Add to that some horns and you have an amazing trip, which might be the reference of the song ‘Strelka’, which was a Russian dog send to space. Also ‘Belenos’, which is a Celtic deity. The music is calm, languid and wavering on at its own pace. Musically there’s no point where anyone drops the ball and the continuity of this record is definitely one of its main strengths.

Think postrock with extra’s and perhaps thats what it should be labled as; postrock+? ‘Kitsune’, which means Fox and that is how fleeting the music sounds at times, like a fox running through the high grass. It almost escapes you as a listener but keeps circling you. It’s a record to immerse yourself in, to feel elated to, while listening to it on a long walk in nature. The track picks up a roaring sound, that swells up towards the end. I’ve totally fallen for Toundra, I hope you will too.

195 Metalheads

In the mist dark figures move and twist
Was this all for real or some kind of hell
666 the number of the beast
Hell and fire was spawned to be released

– Iron Maiden, ‘The Number of the Beast’

I have started reading this book titled ‘The Happiness of Persuit’ by Chris Guillebeau. I have come up with a goal that made me get out of bed and excitedly start writing these words to you, my meagre set of readers. I plan to interview 195 bands from all countries in the world, that play metal. I’m not a pure blooded metal head, but this is what I’ve decided to do.

I’ve got one interview soon from Israel, one from Lebanon and I probably have one from the Netherlans. I’m starting work on one from Estonia and now I need more.

Think ‘World Metal’, like Sam Dunn presented it in the documentary, think global and world wide.

From the day Geezer Butler saw a looming dark figure at the end of his bed to the day we live in now, metal has been a genuine counter culture that is also a global tribe. We could shake hands anywhere in the world, when we share this music.

Can you help me out? Let me know.

Raum Kingdom (Ireland) Interview

From the Green Island comes Raum Kingdom. They make bleak blackened doom that has little to do with any of the further stereo types that might pop up when you hear Ireland. The band released a refreshing album of material, that feels like a new wind breathing through what we know in this style. Inspired by the likes of Amenra and Neurosis, the band promises to be an interesting new act on the horizon. Time to check in with the guys from Dublin. Guitar player Andrew Colohan is keen to tell us more about Raum Kingdom.

Originally the interview was published here.

How are you guys doing?

Hello, yes we are all in good spirits, form and health and delighted to be doing this for the Sleeping Shaman.

Who are in the band and how did you get together, did you guys play in other bands before?

There are four of us in the band, Me (Andrew) -Demons Bow, Dave – Chant, Mark – Rattle and Ronan – Devils Bow. We have been close friends for a long time and big lovers of music and over the years have been in different projects with each other. The time came when we could eventually play together and this happened. We hope that real life can be kept at bay so we can continue with this for as long as we can.

As far as I can gather your bandname might be derived from the petty kingdoms of Norway, of which one was called Raumerike. Is that correct?

We have never heard of that place before, So sorry to say, but no. Sounds nice tho. Norway seems like a nice place. We were settled on just Raum but the name was taken so we added kingdom. It doesn’t really come from anywhere as such it was just trial and error.

What inspired you to that name?

We had ideas and a concept from the get go and even as we where progressing through creating the songs we didnt have a name. But the more we tried to find something the more it eluded us. The name eventually was found through trial and error and as everything else was taken. Raum Kingdom is supposed to stimulate the imagination of a place or earth with different values , principles and laws.

Source: Facebook Raum Kingdom
Source: Facebook Raum Kingdom

What can you tell us about your record, how did the recording and writing process go?

We had a blast writing this music and still are enjoying writing. The process is we basically say ” That’s to many notes.” Strip what we can back to the core, do a little shuffling and testers. When it fits the theme of what we want and are about, we take it from there. Recording is when we polish off everything, as we don’t know what it will truly sound like until then.

What is the general theme of the record?

We didn’t intentionality set out to have a theme for the EP but if we had to say there was one it would be Pain with a pinch of hope.

When I listen to it and also follow the lyrics, it feels like a story or like a stream of consciousnous from one person. Do you feel that would be in there?

Yeah for sure each song has it’s own story to tell.

What is in your opinion the best song on the record and why?

We all have different opinions about that and it changes with each of us as time passes. But it might be good to say that ” This Sullen Hope ” Could be generally considered one that we all go Yea thats what we want and are about as it has everyting in it.

The record seems to be generally well received, what makes Raum Kingdom stand out in your opinion?

We’re still a bit blown away at how good the response has been none of us really expected it. I don’t think there’s a lot of bands out there trying to do what we are doing.

What is the sludge/doom scene in Ireland like? What hidden gems does Ireland have to offer?

Being such a small nation and an Island. The scene is rather small, That’s not too say the ideals are small. It can get reptitive very quickly here. There are few gems we know of. Fuckhammer, Okus and Weedpriest.  Just to name three. Some vile stuff happening there.

Are you going to tour for this release?

We would love too gig and tour and we will as much as humanly possible with the hopes that the numbers and tempo will increase in time. We are having our EP launch on the 05th Sep 14, Fibber McGee’s in Dublin Ireland, With a few other shows and surprises happening.

What future plans do you guys have?

As a unit we have many hopes and aspirations. But we gotta keep all that in check and be real. We are loving what we have at the moment and we are enjoying every moment of it. We are currently writing, gigging and hopefully playing in other countries soon. But we just gotta wait and see. There’ll be an album within a year called Raum Kingdom II.

Anything you would like to share?

In the absence of will power the most complete collection of virtues and talents is wholly worthless.

Raum Kingdom’s self titled debut is available through their Bandcamp profile http://raumkingdom.bandcamp.com/releases

Pictures, borrowed from Raum Kingdom Facebook.

Sounds of the Underground #13

This is the second sound of the Underground of 2015, with bands like Inquisitor, Odota, An Autumn For Crippled Children and Baptists. So much good stuff left over from last year.

Inquisitor – Clinamen | Episteme

Source: Inquisitor Bandcamp

The Lithuanian scene is a truly hidden gem and the band Inquisitor was recommended to me for listening. The band has been around for 12 years already and makes a dense combination of hard riffing and passionate melodies in what can be perceived as an organic whole. Funky, hectic grooves lace the song ‘Hearken, Memmius!’ that opens their new record. Soaring guitars. That playful weird sound is apparently their schtick, also the semi-clean vocals offer a new persective. ‘Hence The Mouthful of Time’ is full of progressive piano elements and peculiar elements.

Though progressive and embracing avant-garde, there is nothing tame about the groups sound. The album shows much variation, but also sheer brutality and grim atmospheres to the listener. The strenght however, is the detailed extremes the band seems to play with in their music, going from typical black metal to a form of jazz or funk and back again. The sound is always bleak and all you would expect from a band that labels as black metal. The intelligent sound of these guys is definitely worth the attention of the avid metal fan though and I cannot wait to hear more from them.

An Autumn For Crippled Children – try not to love everything you destroy EP

Source: Bandcam AAFCC

With probably the must fucked-up bandname in a long time of fucked-up bandnames, this group does make an extremely beautiful sort of post-black metal. Soaring film score elements accompany a layered, atmospheric barrage of guitar and sonic effects on the titletrack. There’s a warmth in the sound of this mysterious group from the Netherlands that has no equal. It’s the warmth of embracing a certain fatalism. Fun fact is the reference of the title to previous full lenght ‘Try Not to Destroy Everything You Love’.

The second song is ‘post war’, which has fierce guitar structures that even with their smooth effects sound like typical black metal riffing. The sound is rich and reminds the listener of obvious names like Deafheaven and Liturgy, but with a weird twist of their own. This is a band that has done amazing work this far and is worth recommending to anyone who is into this music, but also those outside of it.

Baptists – Bloodmines

Source: Baptists Bandcamp

Luckily, there are still good hardcore records coming out now and then and this new one by Vancouver residents Baptists is a true blistering masterpiece of what hardcore should be. A lot of squeeking guitar work and gritty rhythm combinations makes the sound of the Canadians agressive and controlled. Their aesthetic is something with man versus nature, which is displayed in the beautiful cover that expresses a dark perspective on this struggle. That darkness is taken into the sound of songs like  ‘Vistas’ and ‘Harm Introduction’.

Grinding guitars and hectic breaks form the base of the raging songs the band keeps chugging out. The furious vocals are spat out at break-neck speed, furious at the world and followed by pounding drums. The sound is coherent and organic though, there is little artfical about this band and I guess that is one of their main charms. Hopefully they cross the ocean soon, so we can admire their live antics as well.

Odota – Fever Marshall

source: Odota bandcamp

Jarmo Nuutre is a peculiar dude, who does fantastic tattoo’s and used to make mammoth-stomping sludge with Talbot. This is his new project and it is filled with a lot of awesome. Slow creeping sound, filled with strange atmospheric effects accompany the searing guitarwork. Black metal inspired, industrial tinged noise on a slow, doomy pace is what best captures the sound on this first release.  The heavy distorted vocals and rest of the sound offer a sound that envelopes the listener. Tracks like ‘Bad Medicine’ stand out due to their dark and frightening atmosphere.

Strangely, a song like ‘Half Eagle’ feels more like a video game soundtrack mixed with an evil EBM song that you have to dance to in the intro. The sound samples Nuutre choses, betray an eclectic sound and a creative mind that is free of boundaries. Closer ‘Rattlesnakes Unfold’ is a tidal wave that keeps pushing you under in a dense rattling, drumming sound, waves of distorted guitar wafting over you, while vocals seem to just scream at the sky. This debut of Odota is an unholy experience of awesome and for those who like a little bit of experiment and doom in their blackened noise metal. Did I capture it there?

Sounds of the Underground #12

The first Sounds of the Underground of 2015 and the section of my blog seems to gather some attention. Thank you for this. For this edition I checked out The Glitch Mob, Cruachan, The Hyle  and Chthonic.

The Glitch Mob – Love Death Immortality 

Source: gemm.com

So it would appear I like a lot of metal and truly, it is the main thing I listen to these days. I have a huge weakness however for the Glitch Mob. I like electronic music that is heavy on the bass, layered and telling a story in itself. The debut of this group from 2010 was quite amazing and captivating. It had that same mystery I find in postrock and some black metal. On their 2014 release the band takes a different approach.

The feel of the sound is much more dance-oriëntated, high on energy and with a faster pace. Fleet footed and lightweight would also be terms, but they might feel a bit negative. Songs like ‘Skytoucher’ still captivate the feeling I loved so much on their debut, but in general the album is more directed at selling and being something the kids can dance to. Not sure if that’s a good thing, for me ‘Drink The Sea’ will remain the favorite and I’ll check in with these guys again when a new record comes around. Though their ‘glitch’ may be less attractive to me, the group still makes brilliant music. Don’t take me wrong on that.

Chthonic – Bù-Tik (武德) 

Source: Metal Archives

Since the album that is released on 29 december is a full acoustic one, I thought it fun to look back at the previous release of Taiwanese melodic death metal giants Chthonic. The band plays with folk elements and structures in a complex sort of work, that relates closely to the atmosphere of black metal in my opinion. The hectic sound is typical in most Asian metal bands I’ve heard, also the clean sound and the polished production. The band manages an accesible sound, while retaining their identity.

The narrative is that of the foundation of what became Taiwan, told in the native tongue. That shouldn’t prevent you from listening to it. The beauty of this record is it’s way of sounding like a metal band in a clear cut manner, but implementing the narrative of Taiwan by using folk elements and mythology to create distinctness. Anyone hearing this will look up in surprise to check what it is they’re listening to, but still feel it relates to them. Though the sound is rooted in the more extreme styles, the grandeur of power metal is definitely present int he riffing and huge arches of vocals and synths. It doesn’t surprise me that Spinefarm signed them. The acoustic album that is coming out is promising to be another revelation and a rare insight for many metalheads in Asian traditional music.

The Hyle – Demo 

Source: bandcamp The Hyle

The Danish band has a wonderful sound that combines doom with  a stadium rock-like swagger, without losing any of their credibility. This demo was not without reason so well liked by Cvlt Nation out of what they picked up this year. The slow, foreboding sound of ‘Lucifero’ sounds weary and whispers a certain despair. The clean vocals are warm and caring, but hollow somehow. Slowly the song runs its course, untill twangy bass sounds support samples and harrowing riffs continue the brooding sound onto the ritualistic sounding ‘Serpent King’. I feel a bit reminded of Electric Wizard meeting up with Witchcraft when listening to this record.

The second half of the record opens very slowly with ´Spiritual Sacrifice´. The spun-out track wavers on for a couple of minutes, when silence descends. The final song is ‘Children Of The Divine’, which is also a dark tune with the sense of ritual and pagan magic to it. The band creates a sound that feels like retro, but also distinctly now. The record is captivating and if these Danes call this a demo, I’m eager to hear the debut.

Cruachan – Blood For The Blood God

Source: Metal Archivers

The Irish folk metal band Cruachan is pretty much one of the first of its kind. This year I saw them play live, finally, at the Eindhoven Metal Meeting and experienced a lot of their new songs. The work seems raw, honest and direct, but also a bit amateuristic sometimes and a little odd. The vocals of Keith Fay are very peculiar and the man is simply not the most talented singer. Still, the blend of folkish traditionals and raging metal works quite well for the group that has released it’s seventh album on Trolzorn records. The song ‘Born For War’ is representative for the epic sound and feeling this band wants to invoke.

Noteworthy is the song about ‘Beren And Luthien’, which departs from the Irish mythology and picks up a little Tolkien along the way. The band seems to have two gears, of which one is a slow, melancholic pace and the other the frantic one-two-one-two primitive death metal roll. Both are implemented in different ways, but it tells the listener a bit about this band. Cruachan feels like a band on form, enjoying what they do once more, but also stuck in thier own sound. Change is a difficult thing and this record doesn’t sound in any of it. One could argue that this is the reason the whole folk metal movement passed the Irish group by. I don’t know, perhaps they are comfortable in their own little niche. Songs like ‘Gae Bolga’ and ‘The Arrival of the Fir Bolg’ are both well constructed and atmospheric and display the strenght of Cruachan. I worry that they will remain an anachronism in a genre that moved far beyond the primitive sound of this group.

Melechesh Interview

A long time ago I did an interview with the band Melechesh. The group was originally from Israel, moved to Amsterdam in the Netherlands later for its political freedom, a bit like the golden age of philosophy.  The band deals thematically with Assyrian and Armenian mythology.  Add to that some Mizrahi rock and there you go: unique metal. This is the interview I did with Ashmedi, main man of the band, in 2010.

Could you kindly tell us who you are and where you come from (musicwise as well as lifewise)?

I come from Jerusalem  my family are Armenian/Assyrian. Musically I come from the rock and metal background but I listen to any and every type of music as long as it is well done . Life wise I am a cosmopolitan who lived around the world and now settled  in this nice , tidy and quiet  corner.

You’ve moved the band from Israel to Amsterdam/France, how was that decision made and what were the reasons you had to move?

Well the reasons were several, many demographical and socio political reaons. Also we wanted to progress our music.  The member who was in France is now doing his PHD in USA so he flies often here to writing sessions and rehearsals.  Coming to Amsterdam was a coincidence actually , I was on my way to USA when my x bassplayer who was living here said Amsterdam got English language Universities, I thought ok its closer to Jerusalem .

 Theres a mix of nationalities in the band, how does this influence your writing and creating process?

Well and it does not change our writing process. Though we got to learn that you should not make music at any cost like we used to believe in and was the way we work,  but rather pay attention to personal convenience which comes first here. In Jerusalem there are many different people from all over the word , same as with Los Angeles where I lived as well so always managed well in cosmopolitan places.

source: ROAR E-zine
source: ROAR E-zine

Is there a political element to your music, and if so what is it? What were the comments when you released the ‘As Jerusalem Burns… Al’Intisar’?

NO , the middle east is much more than politics, it is a place were civilizations were born. We focus on this beyond the mundane but tragic drama . Politics are merely the art of lying and rationalizing human deaths. We don’t play that game, and we say our politics are simple we count the dead and we think everyone deserves to live in dignity. Can you imagine an entire region with many countries billions of people thousands of years of continuous civilizations is categorized by one cliché.  We are critical and know what is going on there but we do not drag the mystical and spiritual artistic creation known as Melechesh in this.

When As Jerusalem Burns …Al Intisiar  (by the way the title is meant metaphorically, as we love our home town ) was released well hell broke loose J we survived it. There many critical of us but in the end we make music with spiritual and mystical context so we did not hurt anyone. ( maybe the righteous can learn for this ). But such things made us appreciate making music and we are grateful to where we have reached today

Could you tell us what Mesopotamian Metal is, what it envelops and what it is you tell about? Obviously for us it’s a very strange and unknown world.

The style of music is already popular in the metal underground and there are several young bands adapting to it which is really cool. But for the readers Roarezine of let me elaborate more on this.  When I started Melechesh the philosophy behind the music was to create not re-create.  So we tried inventing the Middle eastern sound of Black/thrash metal.  Which encompass hard rock and heavy metal as well but with an ethnic twist when it comes to guitar riffs and picking as well as at time, Middle eastern drum patterns.  Lyrically  we deal with Mesopotamian mythology near eastern mysticism .

 Musically who are your influences, metalwise as well as traditional music wise?

I grew up on rock music at home  with time I was drown into heavy metal and punk and got into various types of bands. As a musicians we are shaped by diverse music intentionally or unintentionally. From Metal music , I like the classics black sabbath, led zeppelin, rainbow also Mercyful fate some Metallica , Slayer , Bathory it is hard you know ! traditional musicians I am very much into Persian Indian cross over like Ghazal, Indian ragas , sufi music .

Your new album, The Epigenesis, is almost out. Can you tell us about the process and the record?

The album took a long time to write , almost three times to record. Its is a long album with diverse moods , from a 3 minute song to a 12 minute song.  We decided to break the mold and we flew to Istanbul to record the album. Many here were surprised but the outcome spoke for itself . Istanbul was a unique experience and very inspiring one.  The city is very inspiring for musicians, it is great for night life and culture, and very Metal. So many metal bars out there its crazy.

Everything worked out perfectly it was almost uncanny like how come every step every decision was fitting in like a piece of puzzle , it was quite mystical . It was also very practical to be there, as people were helpful no 9-5 mentality we did put in 16 hrs a day . Also the little things you know you want to order a meal at 3 AM while still recording , its possible. You can even order you wine and whisky at those hours. The little things helped keep the vibe positive. The weather was good too.

How has your work been received in Europe this far?

Well previous works always well received,  we got fans across the globe, positive record sales and the fact most labels offered us a record deal  was very  humbling and a good sign.  As for the new album the general press media is good.  Topped various critics lists, several cover stories I cant ask for more and we are grateful for this.

Source: Wikipedia

Did starting a black metal band in Israel spawn a lot of followers? Are there other metal bands from the Middle-East that you would recommend?

You need to be able to differentiate the various parts of Israel. The fact that it was in Jerusalem was the issue.  AT first people wanted black metal bands from Scandinavia , if the band was from there the fans show the horse teeth with unconditional smiles and frown on bands that had to fight to make music. But this changed. A lot of hard work development of a type of music eventually paid off.  We had followers there, but our larger fan base is in USA and Europe.  There are several talented bands in the middle east they work hard some even were jailed for doing the music they are passionate about.  For sheer brutality check out Keaton, for Melodic doom check out Bilocate. There is a cool rock band called Khalas and so on.

Are there any bands that you would compare yourself to?

Blof (a rather cliché Dutch rockband, GS)

What influence does living in Israel have on your music and on your life and  views?

Some people fight to have a decent life and when they get it they appreciate every second. Some have it all served on a silver platter and deep inside they are very unhappy. This is one thing I learned.  I also learned how racist humans are. I personally believe in one race. Human race. And thankfully I am very color blind.

Where do you see Melechesh going in the future?

I don’t know really, just challenge ourselves and make credible music.

 Are there anything you’d like to tell our readers, that they should know about your band?

Doe het normal is a bad thing for music and art but  a good thing for accounting.

What Album should we start with?

The Epigenisis for sure not because it is the new one but because it represent us now and it has several moods.

If Melechesh would be some kind of food, what food would it be?

A healthy salad which has flavor ! and considered as soul and brain food.

Sounds of the Underground #11

Once more I’ve tried to pick out some new interesting records from the underground to inform you of what is out there. This time I’ve got for you Sea WitchDrudkh, Laster and Frown.

Sea Witch – As Above (demo 1)

Source: Bandcamp Sea Witch

I like the band name Sea Witch. It immediately feels like one can easily get into the greatest depths  of doom. The bottomless sea and its many mysteries forms a great basis for  a band that plays the clean and deep sound of the abyss, like Sea Witch does. The band from Nova Scotia incorporates atmospheric black metal, drone and a pinch of folk into their ‘nautical doom’. Inspiration obviously comes from the sea. There’s also a video released recently.

The full demo can be listened to on their bandcamp and is part of a series of two, the second titled ‘…So Below’ (like you didn’t see that one coming). The element ‘nautical’ is fairly important here, since it inspires the distinct sound the band demonstrates. There’s a threatening element to the sound, something looming in the dark. The slow sound is clear but full of reverberation. The listener loses sense of up or down on ‘The Atlantic’. Or the slow and atmospheric ‘Out Of The Depths’. It’s a haunting and wonderful experience, to get submerged in their music. 

Source: Metal Archives

Drudkh – Eastern Frontiers On Fire

Drudkh from Ukraine has never shied away from  a little provocation in their words and titles. Obviously, the dangerous NSBM tag has been mentioned in relation to the band. This record is a collection of songs from the EP’s ‘Anti Urban’ and ‘Slavonic Chronicles’ and their work released on the split the band did with Winterfylleth “Thousands of Moons Ago / The Gates”.  Slow mesmerizing black metal opens on ‘Fallen Into Oblivion’, followed by the jangling ‘Ashes’. The tracks feel grey and dry.

The tracks ‘Tam gdzie gaśnie dzień… (Sacrilegium cover)’ and ‘Indiánská píseň hrůzy (Master’s Hammer cover)’ are more raw, but brought in an unmistakable Drudkh way.  The slow, cascading sound has an epic quality and atmosphere to it. The atmosphere is like the far lands of Ukraine on a dusty summer day.  What no one seems to wish to get into is the title of the compilation, which is a clear reference to the current situation. It is unclear to me why only the title and probably cover refer to this. That does however not diminish the beauty of the music that Drudkh shares us. It does serve as a reminder of the harsh place the origin of their sound has become.

Laster – Die Verste Verte Is Hier

Source: Metal Archives

The Utrecht atmospheric black metal band Laster has released their debut album with four tracks, seemingly lasting forever. Their slow and dense sounding tracks have little agression in them and focus mainly on a cold and thought provoking atmosphere. The lyrics are in Dutch and have a wonderfull poetic quality to them.

‘Tot de tocht ons verlicht’ is a torrent of sound, swirling around the listener who will get the feeling depicted on the cover of the album of falling down through this haze. The sudden clean singing marks a shift to more shoegaze-like atmospheres. There are some industrial elements towards the end of the track.  ‘Mijn Masker’ is much more furious and hectic, though maintaining the static, sonic layers of sound. Screams pierce the cloudy sound, creating an grim atmopshere of depressing and dark sound. The music ebbs away, giving room for gentle piano play which wraps up this intriguing track. ‘De Verste Verte Is Hier’ stands out with its gothic chanting and postpunk/shoegaze rhythm. Howling vocals and clean sounds mark those influences even more in what is the most dreamy song on this album. The impressive sound of Laster makes them clearly an intriguing band to take heed of.

Frown – The Greatest Gift To Give

Source: Frown bandcamp

Though I have to admit to finding the name Frown a bit awkward, the unique sound of this band was quite impressive and captivating. The raw and abbrasive vocal style is what stands out most.  After the prayer bells sound, the opening riffs of ‘Trial By Ordeal’ storm in with a kolossal strenght. The nasal and barked vocals of their singer reminds the listener of primitive black metal. The sound lacks the muddy, full sound of a sludgy doom band. It’s really the atmosphere that counts and the reverb in the guitar sound.

‘Harpocrates Unborn’ is a reference to the God of Silence of Greek mythology. The venomous dripping sounds that open up the track are a prelude to the gloomy sound that the guys produce.  A dark and mesmerizing descent into despair follows. Apparently it takes up more muscles to frown than you need to smile. That says something about the complexity the band looks for in their different and unique sound. The Australians blow distorted and gravelling guitar sounds through the thrudging doom of ‘Cold Gail That Blows My Lonely Grave’.  The slow and droning track is calm but full of this feeling that something wicked this way comes. ‘Offering’ closes the record with an almost ten minutes lasting drag that would not be amiss on a Sabbath album.

Sounds of the Underground #10

Alright! I’ll take another look at what comes up from the underground with some of the best black metal releases I’ve listened to this year. VoicesPrimordial, Darkspace and
Ne Obliviscaris, some of the best, really!

Source: Metal Archives

Voices – London

To present the world with an album in the extreme metal genre ont he topic of the city of London is daring and at the same time peculiar. Where bands that linger in the sphere of black metal, usually go for occultish and otherworldly themes, the men from Voices pay homage to their great city. Featuring ex-members of My Dying Bride, Akercocke and Dark Veil, that is clearly a step away from what the gang used to make. The result is breath taking though.

The music is sometimes quiet, calm and melancholic piano parts and then again furious and rugged black metal that has the urban rage of Godflesh tucked inside it. Then again the riffs are hectic and frantic like Devin Townsend Project in a way. Nor does the band eschew some funky lines here and there. All in all, this album has so much to say and so much diversity to offer that I’m literally astonished by it. This is not the London of the postcards, but the metropole with all its gritty underground and hidden charm. What an amazing display of musical prowess.

Source: Metal Archives

Primordial – Where Greater Men Have Fallen

It’s hard not to love Primordial. The Irish giants of black metal have never reached beyond their grasp, nor taken inspiration from the trodden paths and their new epic album is the latest proof of that. Biblical themes, heavy anthemic riffs and grandeur is a small bit of words to describe what the listner can expec to be bombarded with on this new album by the band around A.A. Nemtheanga. The soaring vocals of the frontman are what carries the true epic quality of this band.

Biblical themes are no strange phenomenon in the work of Primordial. Songs like ‘Babel’s Tower’ depict that in a iconclastic grandeur, where hopes crumble down in major melodic torrents of hefty guitar play. The apocalyptic foreboding and eventual fall that ‘Come The Flood’ predicts is even more powerful to behold. There’s the cold furious black metal, combined with haunting storytelling on ‘The Alchemists Head’ and creeping doom on ‘Ghosts of The Charnel House’. Still, this album might have too much of an accesibility for everyone to admire. Lovers of the sheer brutality some black metal has been displaying of late (check out that new Nihill album), will not be able to admire this new masterpiece.

One may also argue that the work of Alan Averill (aforementioned under his moniker) is letting a bit of Dread Sovereign and Twilight Of The Gods seep into this. I have no problems with that at all however, since it will only help the sound of Primordial to reach new depths and find new domains in which to shine.

Source: Metal Archives

Darkspace – Darkspace III I

Darkness… a concept so vast and impossible to grasp, that we give shape to it. To create creatures and elements of darkness makes it less frightning, tangible and less subliminal. So for a band to take the concept of the endless void as their topic, it makes their music something spectacular, specially when it comes to Darkspace. The band name came up in casual conversation and I was not familiar with the Swiss group. Switzerland does produce an amazing amount of spectacular bands and this one is definitely part of that. The latest record is one in roman numerals, like all their work.

What you get is a swirling mayhem of sonic space. Roaring vocals, arising from the depths of the void and industrial segments depicting the confusing last signals of life in space. The atmosphere is dark and cold, full of mystery and the listener gets sucked into the endless void immediately. Only three songs with a total time of over 70 minutes. This is quite the trip.

Source: Bandcamp Seasons of Mist

Ne Obliviscaris – Citadel

Holy shit! What the hell just hit my eardrums? It’s Australian bringers of mayhem Ne Obliviscaris. A mixture of jazz, avantgarde, thrash, death, black and all things extreme in one unholy package to bring you musical joy. This is one of the most impressive records you’ll hear this year and well worth your time.

Hectic, spiralling riffs emerge from the debts, where minimal drums overtake again. Violins wail and folkish melodies play before a new onslaught of brutallity arises.  Classical passages and emotional cascading riffs clash in what can only be the sonic expression of the deepest despair. Then again you are surprised by what seems like acoustic gypsy melodies, weeping violins and calm singing. The combination is beautiful.

The band reminds the listener of the likes of Therion at times with a bit of Celtic Frost and the orchestral sensitivities of Opeth. Still that doesn’t do justice to the band from Oz, maybe the previous record would count as a good addition to the mixture. Soaring clean vocals bring a calm over the frantic rhythms and wild cacophony that starts to emerge, but the swirling melody holds on to all its elements in the vast sound of this group.

This is the record everyone should hear for sure, just as the other three. What a set of brilliant releases. The Underground has plenty to offer once again.

Interview with Blaakyum from Lebanon

Source: Blaakyum Website

Blaakyum has been around for a long time and has been instrumental in keeping the metal scene in Lebanon alive. Lebanon you say? Yes, Blaakyum plays a mixture of thrash metal and various elements from other styles and hails from the country near Syria, Israel and all those places where you think no one has even heard of metal. They proved me wrong.

Now for me the country was as unknown as this band, so logically I checked their music and wrote them a message. It turns out that Lebanon is, considering our general view in the west, a pretty liberal country on some fronts. Still, Blaakyum is not a band that enjoys the same liberties and possibilities as bands from over here and they have to face very different hurdles on their path.

Oh, so the interview was publishe on Echoes & Dust.

They have been around longer than most bands, and it took a lot of effort from guys like Bassem Deaibess to keep this band and also the whole scene together. Anyways, enough introduction, best to hear the story from the horse’s mouth.

  •  You guys are, as it stands, the oldest, active metal band from Lebanon. How did you guys get started on playing metal music and how did you get in touch with the style? Also, was it hard to find like-minded souls to form a band?

Bassem Deaibess: Well, If I wanted to answer that, it would take me probably around 20 pages. To make it as short as possible, I started learning guitar when I was around 15, and that lead me to look for guitar oriented music which lead me to Rock, Hard Rock and Metal music. Back in the 90s it was not hard at all to find that music since it used to be played on our Radios and we had Rock Shows on TVs, the major Metal bands were all over our radios and TVs such as Metallica, Megadeth, Iron Maiden, Judas Priest, Sepultura, Morbid Angel, you name it.

When I got introduced to this music mainly thanks to my cousins, it was love at first hearing. As a typical dream of a beginner guitarist I wanted to form a band, so I started looking for members, and surprisingly it took less effort than I expected. Although Metal was available and accepted it was never mainstream, so I won’t say it was hard to find like-minded people or more precisely like-music-tasted people, but when we would discover someone who listened to metal it was as if you have just discovered a gold mine… We would in most cases become instantly friends… From the time I set my mind of forming a band towards the end of 1994 untill Blaakyum was formed in summer 1995 it was a relatively short period of time. Sadly since 1995 untill today the line-up changes have been endless, so I cannot answer the question on behalf of the past members.

Rany Battikh: Back in the 1980s/early 90s, Metal was pretty big in Lebanon spawning a couple of popular dedicated radio shows. My older brothers recorded selected songs on cassette tapes off the radio for bands like Metallica, Judas Priest, Black Sabbath, Dio, Slayer, Iron Maiden etc. I would put those tapes on and listen to them all day long. I remember once my brother brought a video tape of a Judas Priest concert home and he made multiple copies of it so we won’t damage it by over watching it.

When I picked up the bass, Metal was an obvious first choice for me, before I got into funk, jazz and classical music later on (through my college studies).

Jad Feitrouni: My father was a hard rock fan, so he always put on Deep Purple, Rainbow … while driving us to school. He always insisted that we (my sister and I) play an instrument, so we had piano lessons at an early age. I kept listening to hard rock and rock bands till I met Rany (Blaakyum’s Bassist) at university. Rany was a huge Power Metal fan at that time and started giving me CDs for Rhapsody, Stratovarius, Gamma Ray, Manowar, Helloween (to name a few)… he tried to give me thrash CDs but I didn’t like the style at that time. Few years later (when my ears matured) I gave thrash a try and I have been a huge fan ever since.

Rabih Deaibess: My brother (lead vocals) was sick enough to put some Sepultura on my headphones when I was 6… When I grew up I started listening to Symphony X (Divine wings of tragedy). I was 9 years old, the only reason why I did was because I heard my brother saying to my other brother (Blaakyum’s ex-bassist) that this is too complicated, that he will not understand anything of it. Somehow it angered me and I wanted to understand that music. So I started to become fond of that style and love the sound of the guitar and drums. When I was 11 I started playing the guitar, but the song I learned to play to was ‘Hey God’, by Bon Jovi.

  • I have to ask, how was it to play the first Lebanese rock festival? What was that like for the crowd, the bands, the atmosphere…?

Bassem Deaibess: The first concert Blaakyum performed at was in 1996 at the Lebanese University, which was the first Metal concert to be organised after the civil war. It was interesting to see so many metalheads, and back then we had even media coverage. The first Major Rock festival was organised in 1997 in place in Beirut called “Beirut Hall” the festival held around 13 bands and it was dubbed simply Rock Concert!! It was thrilling to go on stage and see around 2500 people waiting to hear you, we were so young and amateuristic back then, and although I felt we did a horrible job as a band, the crowd was so supportive. We probably were among the least experienced bands, the other bands were seriously amazing. I never realised how high the standards of the Metal Scene were back then and the atmosphere was really extremely friendly, like a brotherhood.
The next year Rock Concert II happened, but Blaakyum did not participate. We kept playing in one of the most famous 90s (up till 2005) Rock and Metal venues that hosted regular concerts on a weekly basis, it was called Peak Concert Hall. It had a capacity of 700 people and it was almost always full, up till 2001 where Blaakyum performed in the first edition of Rock Nation, a yearly Rock/Metal festival (though mainly Metal) that kept going till 2008. The scene during all these years had its ups and downs, but considering a country of 4 million inhabitants, the scene is extremely impressive here even in its down phase.

  • What bands were the ones that got you guys into metal?

Bassem Deaibess: For me personally it was Guns’N’Roses at first who got me into the whole Rock/Metal genre, followed by AC/DC. Then came Metallica’s ‘Black Album’ and Iron Maiden’s ‘Fear of the Dark’, from there on the snowball rolled.

Rany Battikh: Prior to Metallica’s self-titled album’s release (in Lebanon), ‘Master of Puppets’ was a game changer for me, definitely my Metal bible for a very long time alongside Black Sabbath’s Live Evil.

Jad Feitrouni: The bands that got me into metal where Manowar, Rhapsody (Now named Rhapsody of Fire), Gamma Ray, Hammerfall, Helloween, and many others…

Rabih Deaibess: bands that got me into metal: Symphony X, Dream Theatre, Rhapsody (now named Rhapsody of Fire), Evergey, Pantera, Testemant, Nightwish, Alter Bridge (those are part my inspiration as well)

  •  Where do you get your inspiration from for your lyrics and music?

Bassem Deaibess: I must admit that the main source of my inspiration lately whether for writing lyrics or music, is my anger. Especially with what is going on lately in the region and the threat of Islamic fanaticism that is threatening my country, the incredible political and social corruption, and the intellectual struggle and the cultural terrorism we face on a daily basis because of religious and political dominance. There is always a social, political or socio-political message behind each song even those who seem to be more related to literature and arts (I am a big fan of J.R.R. Tolkien and fantasy novels as well as Edgar Alan Poe and thriller/detective novels e.g. Dan Brown) Musically I must say that the main influence from the Metal side is Thrash Metal, mainly Testament, Overkill, Sodom, Kreator, Onslaught, Metallica and Pantera. But I am also very fond of Classical music especially Beethoven, Bach, Tchaikovsky and Rimsky Korsakov. And traditional Lebanese folk like Lady Fairuz, Lady Sabah, Wadih El Safi, Marcel Khalife and Tony Hanna, and Oriental Arabic folk such as Muwashahat Andalusia and Roudoud Halabia. I am so much in love with Celitc music.

As for Jad and Rany other than the bands they named that are a major part of their influences, I must say the Blaakyum Rhythm section is heavily influenced by Funk and funk fusion.

Rabih Deaibess: I was a Progressive and Power Metal fan for a long time, then I got a bit off track to bands like Creed and Nickelback, but then I heard 3 tracks that changed my life: Black Sabbath’s ‘Cross of Thorns’, Dio’s ‘Hide In The Rainbow’ and Pantera’s ‘I’m Broken’ and I went more into thrash stuff like Metallica, Megadeath, Testeman, Kreator and Exodus.

Bandphoto Blaakyum: Not grim and frostbitten, but still as metal as it gets.
  • Recently you played two major festivals (as if you need reminding, right?). What was it like for you as a band to get to this international stage?

Bassem Deaibess: Well, it is a proof that even in the most unlikely circumstances and against all odds, if you work hard, you are good enough and you want something so bad, you can get it. Let us be honest, to have a tour on your own, without any label or management backing you up, would seem a normal thing from someone in Europe, it is not really that hard. But for us in the Middle East, it is equivalent to an eternity of hard labour!

First the dehumanizing factor of getting Visas (So many times we were about to cancel some dates because we weren’t sure we will get the Visas), the way we are treated in some embassies is almost inhuman, you feel you are an inferior race begging the White West supremacy for a chance to go to their countries. Applying for a Visa is such a stressful and anxious experience and you are totally helpless. Then comes the transportation, I mean again in Europe, you can simply rent a small van, get in there and drive to whatever country or town you want. Here we have to travel on our own; the economical difference is huge even with the crisis in Europe, what is considered affordable there cost us a fortune here, then the hassle to run from an airport to a bus station with all our equipment and luggage on our back, then from one train terminal to the other and try to do it without missing the train and without breaking any of the equipment… So by the time you reach the venue you are almost dead *laughs*. But then the moment you go on stage, and see the people actually digging our music and headbanging, it always pays off.

Rabih Deaibess: First time we played will be a memory I’ll never forget and tell my kids about if I ever have any. It made Rany, Jad and me become like brothers as we laughed and played together. That bond made our sound tighter as well.

Jad Feitrouni: Playing on the same stage as Testament, Overkill, Onslaught, Iced earth, Annihilator… was a dream comes true especially with Bassem, Rabih and Rany by my side. I listen to these bands every day and to be with them in the same room was simply amazing.

Rany Battikh: It feels great to reach that “international stage” as this was our goal since day one. We went through a lot of hassle to get there for sure, but hard work does pay off at some point and sacrifices trans-morphed into achievements.

  • What is the most common response that you get when people figure out Blaakyum is from Lebanon?

Bassem Deaibess: OWE DEATH AND DISPARE *laughs hard* actually we got mixed reaction, some do not even know where Lebanon is, some gets really intrigued, many ask us if Metal is accepted in Islam, which use to puzzle us since we are not an Islamic country, nor any of the current members come from an Islamic background. There is a lot of stereotyping that we face, which we actually understand. We would be surprised when we meet some people who actually have a very good idea about our country, but still they would be amazed that there is Metal there.

Jad Feitrouni: The most common response that we get when figuring out that Blaakyum is from Lebanon is a long silence. This is where we explain where Lebanon actually is on the map *laughs* But when people actually know where Lebanon is they get surprised to know that metal reached that little country in the Middle East.

Rani Battikh: People get pleasantly surprised when we reveal our country of origin. Some ask about the desert (we don’t have any!), some ask about religion (I was never tempted to discuss my Christianity in that case) and some just show how enthusiastic they are about eastern women!

Rabih Deaibess: We get the funniest reactions sometimes, people get more exited and curious about us once they know we are from Lebanon, some asks us about desert or camels, personally I have never seen one! Some get shocked that we even know what metal music is or that we drink beer!

  • I read in an interview that metal has been around in Lebanon since the seventies, but it struggled for acceptance. Most people, as you probably know, would not even think there’s heavy metal being played in Lebanon right now. Can you tell a bit about how metal arrived in Lebanon and how it developed further?

Bassem Deaibess: Ever since Lebanon was created in 1920 in it was open towards the west. Even in many cases half the Lebanese refused to identify to the Arabic world they are in. Western Culture was rarely viewed as an alien culture, but as part of the Lebanese culture, thus we always were a true mix of both oriental and western cultures. Whatever was mainstream in USA and Europe, was mainstream in Lebanon. So the underground scene in the west was established in Lebanon almost at the same time, even the counter-culture and youth movements such as the beat movement, and the hippies were here as well, so Metal came naturally. When Black Sabbath released their first album at the beginning of the 70s it was all over the place in Lebanon, Lebanese clubs and pubs were full of bands playing Black Sabbath, Led Zeppelin,Yes and Deep Purple… even the quarrels between the Disco fans and the Hard Rock fans were as common here as in the west. When the punk movements in the mid-70s took over the streets of London it did so in the streets of Beirut… of course there were some cultural clashes but they were really kept at minimal. So during the 80s and 90s Metal was all over the radios and the TV rock shows… Till this day Metal has a strong presence in Lebanon, although at times it was under attack from either religious or governmental institutions. Although a big part of society is ignorant about what Metal is and not always accept it, it is fair to say that metal is as alive in Lebanon as in any other western country.

  •  In Sam Dunn’s documentary ‘World Metal’ (if you haven’t seen it, I really recommend it) he shows that metal bands in the middle-east face a lot of adversity from their respective societies. In some countries it’s virtually impossible to be a metal fan on your own terms. How is the situation in Lebanon and how is it compared to surrounding countries?

In Lebanon Metal was very well established on the contrary of most other Middle Eastern countries, It wasn’t till the mid-90s, precisely 1996 that some Christian religious institutions started the “Hard Rock/Metal panic” after a tragic incident of a teenage suicide. This is also very similar to what happened in the west few years earlier, especially in USA. Because religious institutions in Lebanon had so much power, they were able to spread a kind of mass panic. Then the government took part and created a black list of bands and albums and banned some shows, so we had some trouble with the authorities.

All this calmed down by 1999. We even played in few mainstream festivals, but in 2002 a fiercer “witch hunt” was organized both by the church and the government and later the Islamic religious institutions joined forces. This kept going on until 2005, with the assassination of the business man Rafik al Harriri, a prominent political figure and former prime minister, the country went into an open revolution against the Syrian occupation of Lebanon and the Syrian presence was driven off, in the aftermath of this political uprising the country plunged into a long political crisis that is still present, and during all this they forgot about Metal. Every now and then few voices in the media or the Church are expressing some concerns of Satanism and drug abuse in Metal, but after the information age kicked in, these voices are quickly silenced.

The Lebanese Metal scene still has its ups and downs, mainly related to the economic and political situation, but I guess this is what gives the Lebanese bands who write original music the edge that puts them apart from the main western Metal scenes. Needless to say with all this, Lebanon is one of the very few Arab countries that has a freedom margin and were Metal is not utterly threatened, this mix of minimal oppression and margin of freedom makes Lebanese Metal able to develop and creates its own unique identity.

Bandphoto Blaakyum
  •  In an interview you describe the Lebanese metal scene and also discuss its better days in the past. Can you describe to an outsider how the Lebanese scene looks like? What kind of venues do you play shows at and is it easy to buy new records and such?       

Bassem Deaibess: As I said, during the 70s, 80s and during the heat of the civil war, the clubs were full of bands playing and performing Rock, Hard Rock and Metal music. After the Civil war things were going well, many local town festivals like “Al Hamra festival” and “Féte de la Music” and others always had local rock or metal bands on the bill. Up till 1999 there were few “illegal” radio stations that were exclusively Rock and Metal, to name few we had Blue FM, Generation X FM, UFO, and Rock FM. We would look for big venues to organize our multiple band concerts and Rock fests, and we had a regular underground venue called Peak Concert Hall. Around the end of the old century we had few clubs that hosted Rock bands regularly such as “Mon General”, “The Irish Pub” and “Rio Grande” bar.

At the beginning of the new millennium, a new venue was available in a town called Kaslik part of the city of Jounieh, it was called Mad Wheels, where many underground and mostly low budget and poor produced concerts would take place. This was alongside Peak Concert Hall, which remained active till 2005. Also many summer festivals would take place, including the famous Rock Nation (from 2001 till 2008), featuring big stages and good production. At the start of the new millennium, Hard Rock Café Beirut opened and we also had many metal-friendly pubs. One was called “Purple Haze”, which was established by Rockers For Rockers. Sadly, it was short lived but started a tendency other bars and clubs followed. Next was “Kalinka Pub”, which hosted rock and metal bands from 2002 up to its closing date in 2005. Until 2010, the “Nova Club” was the hub of the scene, together with “Cherry’s Pub”, which was active from 2006 until 2009. It was a phenomenon in the scene and the beating heart in its short existence. A pub was started in the Hamra Street, named “Pavillion”, which was a new centre for the underground. For a while we had a big venue where bands could play, named Tantra (capacity: 1.500 people). It took over from Peak Concert Hall, when it closed down in 2004. That was the time we had the Rock and Metal organization to be established called Rock Ring.

Rock Ring took the Metal concerts and festivals to a new level, and organised a high profile events during the first decade of the new millennium, including the participation of Lebanon in the GBOB (Global Battle Of the Bands) twice as well as bringing the all-stars band called Hail to Lebanon twice. During those years few mainstream figures helped the scene by bringing some international acts to Lebanon, like Mr. Jyad El Murr (a rocker himself) who is the co-owner of a TV station and the owner of a Radio station in Lebanon. He was the one to organize the biggest Rock and Metal Festival in Lebanon known as Beirut Rock Festival, and brought bands to Lebanon such as: Anathema, To Die For, Catatonia, Moonspell and others. In 2009 individual efforts were made to bring Lake Of Tears, and the concert was a success. Blaakyum opened for them as well.

But things started deteriorating after 2010, Tantra the main Metal venue at the time, was demolished, Cherry’s Pub has closed down, many pubs such as Nova cut down on accepting Metal bands, but we still have few Metal friendly venues were we throw a gig every now and then such as Yukunkun Music Club, and Quadrangle Pub.

As for the stores, before 1996 Metal was available almost all around the country, but the place where we could find ANY metal new release and old albums was in Disco Rama in the suburbs of Beirut… That changed dramatically as Disco Rama was raided by the security forces and no longer offers Metal music. It has become extremely hard to get Metal albums except for the few very well- known Metal bands, and basically the only place I can think of is Virgin MegaStore, ironically it is not allowed to have the Label Metal, so the Metal albums are all there under the Label, Alternative/Pop-Rock. Mostly we get our music online these days.

We have a few instrument stores that sell good quality instruments, especially when it comes to Guitars and Drums and Amps and everything related to Metal. Those places are named Instruments Garage, and Mozart Chahin. We have few rehearsal studios, but there are no facilities for Metal Musicians in Lebanon, being one is simply choosing to live a hard and unrewarding life. Lately only one such facility exist and it is called LYC (Lebanese Youth Centre), but it is only accessible through subscription and is not open to the public.

  •  I understand Lebanon has a great deal of religions that are officially recognized. I was wondering about the following: the devil is a common theme in traditional metal and the church as something to oppose, how do you guys deal with these themes?

Bassem Deaibess: Blaakyum actually do have Christian members, we all come from Christian backgrounds, although most of us are Atheists but we do have one member who is actually a Christian Believer. Some Lebanese bands tackled the traditional themes of devilry and very, very few were openly oppose the church. In our culture we learned to respect all forms of religions even if we oppose them. Blaakyum music can be described as anti-conformism; many of our song messages invite the listener to be free from dogmatic brainwashing. Personally I am against insulting religion, I find it really a cowardly act. I am anti-religious myself, but there is a difference between criticizing and pointing out the dangers of religion and being outright disrespectful. It is in our view everyone’s right to be religious as much as it is our right to criticize and expose religious bigotry.

  •  What can you tell us about the Massacore incident? Is it exemplary for things you face as a band?

The Massacore incident was this: A live show took place in Lebanon and reporters made it out to be a satanic mass. This was mocked by the metal scene for all the obvious reasons. Then another reporter made things look even worse, claiming it was rituals in an old monastery, drug taking and the presence of kids of public figures etcetera. When Bassem Deaibess called in to the tv-program, it became more evident that it was an attempt to smear the metal scene with all sorts of accusations, which left a taint on the scene for times to come.

Bassem Deaibess: The Massacore incident came as a shock as we thought that the Lebanese society has moved forward and away from such claims. We have been relatively able to organise and play concerts without any such incident since 2009 when the General Secretary of the Catholic Schools issued a paper to the student’s parents warning them of the dangers of Metal and how it is a place for drug abuse and Satanism… That incident did not spread out of control as the organizer of the event is a very powerful public figure and has huge political support. But then in 2012 when the Massacore incident happened, we knew that things have not changed much, we did not face a similar situation as in 2009 after that incident though, but we know for a fact that whenever the Church or the uneducated population have a chance they will bring this subject up. They do it simply because they ignore what the hell is actually going on and they get shocked when they see us moshing, or when they hear someone growl. To be honest, this is nothing like the our “Dark Ages” between 1996 and 2005, that period was by far much more threatening to us as Metal fans, and I am sure that period is over… Or at least I hope so.

  •  You live in the middle of a turbulent region of the world. Do you feel this has become part of your inspiration and your lyrical material?

Bassem Deaibess: Definitely, the situation that we are living in always is an inspiration, what better place to create Metal music than living in such a shit-hole, with political corruption, religious ignorance and war threats all around us. In fact, many of our songs are about such things, like the song ‘Cease Fire’ that talks about the 1996 and 2006 Israeli aggression against Lebanon. The same goes for the newly emerged threat of the so called Islamic State, which is today the biggest threat we face especially as non-Muslims. Thish as brought so much anger to our hearts, and that anger will always translate into Metal Music.  The album we are currently trying to record has most of its tracks inspired by the events that followed Massacore concert, it is filled with anger but as well state how the Lebanese Metal Scene revolted against the faulty accusations… We already have some material prepared as well for the third album which in most part is inspired by the anger, fear and resentment we feel because of the threat of the so called “Islamic State” which is more known as IS.

  •  So, what would you really like to tell about Blaakyum, that I didnt ask yet?

Bassem Deaibess: Blaakyum is but one example of the Lebanese Metal Scene perseverance an struggle against discrimination and cultural terrorism, be it religious or political. There are also many bands such as Kimaera, Inner Guilt, Kaoteon, Nocturna, and many more that are also here, and we will remain here. The Lebanese metal bands and fans are authentic, Metal was born in Birmingham from the voices of a neglected youth, that were under the stress of nuclear threat and industrial dehumanization, and Metal in Lebanon just like the majority of the Middle Eastern Metal scene. It is the product of the suffering of youth and generations who have been living for so long under horrible circumstances. In truth we do represent the authentic feelings of the Middle Eastern and Lebanese youth in all its forms and different points of view and when I say ‘we’ I mean the Lebanese Metal Scene and not the band.

As for Blaakyum, we have been around for a long time, and we are not going anywhere. We will remain a thorn in the side of bigotry and ignorance.

  •  Where can people check out your music?

Well we are all over social media, on Facebook, twitter, myspace, Instagram… from there people can check out what is going on with the band, sometimes we release some footage or some music, as well our album is sold at various selling points in Lebanon and few points in Europe, but for anyone who wants to buy our album they can do it online through iTunes, Amazon MP3, 7Digital, Spotify and many online outlets.

http://www.blaakyum.com
http://www.facebook.com/blaakyum
http://www.twitter.com/blaakyumband
http://www.reverbnation.com/blaakyum
http://www.youtube.com/blaakyumband
http://www.myspace.com/blaakyum