Released: February 25, 2012

Genre: Progressive Metal
Unsigned 

Reviewer: Kareem Chehayeb

Bleeding Oath are a young progressive metal act from London. The band consists of 4 members: Robin Haigh on vocals/guitar, Micah Douglas on guitar, Harrison White on drums, and "Moat", who recently joined on bass. They have been around since 2009 but have made a huge name for themselves in the competitive London scene. They have opened up for Evile, and were voted Terrorizer Magazine's best unsigned band of 2011. This self-titled EP only has two tracks, but definitely makes an awesome first impression. On a less serious note, Bleeding Oath have been promoting themselves uniquely on the internet, after a video of Mikael Akerfedlt spread around where he jokingly said "Fuck off, Bleeding Oath"...It led to videos of the members of Dragonforce, Katatonia, Andrew WK, and Xerath doing the same.

The music takes clear inspiration from progressive rock and metal bands ranging from the likes of Meshuggah and Opeth to King Crimson, though it is also clear they take influence from classical music and black metal. The individual musicianship is fantastic and they clearly make a good unit, which really brings out something different in a band.

The opening track, "Mountains", opens up with a tight riff with rhythmic variations that immediately transitions into a black metal inspired verse. Robin's high screams sound menacing in the mix. It's a very unique track that definitely has a darker edge to it, which is reminiscent of Bleeding Oath's more black metal influenced songs. The clean interlude and the arpeggios right after are really enjoyable too. It requires a couple listens to fully appreciate it because so much is going on, but it definitely exceeded my expectations .

The next track, What Fortune Gives, is one that I've heard on a demo release that was put out a year before this EP. This track definitely has a more standard song structure, but is a quality track. I'm glad they did not throw this one away. It's got the same sort of black metal influence in the framework of an Opeth-inspired framework. I really enjoyed Robin's solo on this track. It is very maturely written and takes a lot from the classical music that they have elements of. Robin's clean vocals are well done on this track too.

Bleeding Oath have put out a really short but fine EP, that really displays them at full-strength. The tracks are available for listen on Youtube and the EP can be purchased, along with other merch on their BigCartel website. I am looking forward to checking out their future releases!

Genre: Hardcore

Label: Self-released
Released: March 16th, 2012
Reviewer: Kareem Chehayeb

Who Will Guard the Guardians are a Jordanian hardcore metal band, formed in late 2011. The band comprises of Adnan on vocals, Moe on guitar, Firas on bass, and Ala'a on drums. Having recently opened up for German death metallers, Fleshcrawl (what a way to make your live debut!). The band released a demo of three tracks which is also released in a split album with Dubai-based death metallers, Billy Bob's Blood Drenched Brew called "The Split".

The first track is "Stand Up" and it just starts with no short intro or build up. Im really fascinated by the drum work, which combines elements of punk, death metal, and thrash. Adnan's vocals came as a pleasant surprise to me! He reminds me of Troy Sanders from Mastodon from their older albums with a bit of Chad Gray (Mudvayne, Hellyeah).

The next track Seven is really awesome. The unique drum beats and dissonant guitars combined with Adnan's growls are a match made in (hardcore) heaven, or should I say hell? In any case, it's really awesome. I enjoy the gang vocals too. WWGTG does them right…I find them so overdone and used at such cliche moments with other bands these days.


This great demo ends with Obstacles, that sounds more thrash than anything, which is a product of hardcore punk anyway! I love Moe's solo too. This demo has been filled with heavy riffs, dissonant riffs and the like…but it was nice to have a melodic interlude with a nice solo in this track.

Great start for Who Will Guard the Guardians after only starting a few months ago! I can only imagine better things to come for this hardcore band! Worth listening!!!

[Ed note: Visit WHO WILL GUARD THE GUARDIANS onFacebookand Youtubeto stream "The Split"and for all WWGTG news concerning upcoming shows and releases]

Genre: Death Metal
Label: Self-released
Released: February 17, 2012
Reviewer: Kareem Chehayeb

I always thought that Perversion where in the shadow of some other bands in the Middle East. Since 2006, this death metal band has been tearing venues apart. The band is made up of Mahmud Gecekusu on guitars/vocals and Rhama on bass/vocals. The duo are the two remaining founding members of the band. Their current live drummer is England-based Alex Micklewright, but have worked with familiar drummers in the regional scene, including Ratish Chadha (ex-A Shot of Adrenaline, Alpha.Kenny.Buddy) and Bachir Ramadan (Weeping Willow). Pillars of the Enlightened has been in the works for a very long time, so it has been an album we have been anticipating for a while!

Through the Void is a short intro track that starts with a continuous dissonant piano melody that builds up with a powerful string section and orchestra. I don't have much to say about it. It sounds good, and reminds me of the sort of thing that Vital Remains have done in their past couple of albums.

The first track opens up, and it's filled with nothing more than pure death metal goodness. Aging the Unbirthed sounds like the lovechild of Vader and Obituary. Rhama, who is the lead vocalist of the band, has growls that can shake the earth. His bass playing is tight and is well placed in the mix, making a great combination with the technical Mahmud G. on the guitar.

The Great Deception smoothly follows up from the previous track, and it's really the same story. Low growls, heavy and tight riffs. We first see Mahmud's lead work in this track, and I definitely like what he's done. Beautiful melodies that change the wavelength in the song, which is generally consistent.

The next track Pillars of the Enlightened is my favorite of the album. It reminds me a lot of Suffocation. A nice mix of blast beasts and heavy death metal breakdowns that can stir up crowds in seconds. I also have to give credit to Mahmud's solo at the end. The song is heavy, fast, and all over the place - just the way I like it - but that solo is so beautifully phrased and melodic. I think their ability to combine blastbeats, breakdowns, fast and technical riffs, AND beautiful phrased solos makes this album more unique than the hundreds of efforts death metal bands have been trying to pull off today.

Overall, Pillars of the Enlightened is a great album that everyone should get their hands on. While many metal fans today have lost interest in death metal, I think it's important they still remember the musicians in that sector of metal that influences many modern bands today. I admire Perversion for sticking to their guns and adding a twist to the work by not using excessively technical solos. I think a common critique of the album might be how the songs just all flow together as if they're one huge track. However, while the production can be slightly better in terms of dynamics, it took a couple of listens to value the individual tracks of this album more than at first listen. If you are fortunate to be in Dubai or somewhere where they happen to be playing soon, I recommend watching them live too.

Perversion are preparing for a show in Germany at Queens of Metal Festival, where they are opening up for Suffocation, Vader, Exodus and a number of other bands! They're also writing some new songs and working on a new release! I feel like these Middle Eastern metal veterans finally have gotten what they've deserved.

If you like Suffocation, Morbid Angel, Vader, Obituary, Vital Remains, and the like, then this is the album for you!

[Ed note: Visit PERVERSION on Facebook to stream Pillars of The Enlightened in it's entirety (available for a limited time!)]

Kareem Chehayeb recently conducted an interview with Bassem Deaibess, frontman of Lebanon's longest running metal band BLAAKYUM, where they cover a number of topics.
Among the subjects discussed in the interview; Bassem provides insight about BLAAKYUM's latest studio album "Lord of The Night;" that was released earlier this month (January 13th) to great reception from fans and media outlets. He also delves into the current local Lebanese scene and how it compares to the 90s.

Here's how it went:


Hey, Bassem! How’s everything going?

Lord of the Night was released on January 13th, 2012, after 15 years! Tell us about the release party and the early impressions of the album.

It was great! I did not expect us to sell over half the first print in one night, especially that we are the first Metal band to release its album in a private party rather than a concert. We already had our album reviewed by Jorzine and got an 8.5 for it, response from fans was overwhelming with many asking us to release tabs for our music, and people expressing how much the wait was worth it. It really eased the fact that it took too long; people were promised the album by end of 2008 so the anticipation was high, and expectations higher and the disappointments almost non-existing.


Knowing that starting a band and maintaining it in the Middle East isn’t something easy to do. What were the major setbacks that held you back from releasing Lord of the Night for over a decade?

Well “Lord of the Night” itself as a song was created in 2006 with the band Communion. Back in the 90s Blaakyum album was called “The Gate” it had 10 tracks ready! But during the 90s we had three major problems:

1. The endless line up change as the members rarely took Metal too seriously as it was a hopeless case, with no support neither nationally nor internationally.
2. The lack of proper studios, producers, facilities (there were no place to practice we had to build our own rehearsal room) and no support whatsoever!
3. The government medieval-like attack on Metal that lead to arrests, and us being beaten up, treated like criminals, and humiliated.

When I reformed Blaakyum in 2007 we had a driving force, especially after playing London. But as it happened before we had a major line up change due to the drummer (George Najjarian) singing a contract with the venue Music Hall and Elefteriadis records, and due to the guitarist having a totally different understanding to what Metal and Music is to us. That delayed the process till mid 2009 when we were ready to record. But by that time our production house became so busy with mainstream Arabic and pop music, so we struggeled till 2011 when the drummer and bassist opened their own studio called Phoenikia Studios, and joined forces with The Alchemist Studios... from there we started from scratch, dropped the VST recording and went live recording (as in live drums and mic-ed amps)... and we did it!




Since Blaakyum’s inception, we’ve seen many lineup changes. How did you meet the musicians currently in Blaakyum, including Elias Njeim, better known as Weeping Willow’s lead guitarist?

Actually Elias is better known for him being a solo player, in the 90s he founded Armageddon, which is a Technical Metal band, as well as he recorded with the first Lebanese Band to ever release a full length album, the band was called Sheppard of Sheol... in 1999 I met Elias for potentially joining Blaakyum but it did not work out back then. In 2008 I re-approached him, this time it worked out, especially that Elias is usually a sessionists player, and that was the case with Weeping Willow, he is currently a permanent sessionists (just to keep his solo carrier image) in Blaakyum.


Starting Blaakyum back in 1995, you must definitely have a clear vision of what the Lebanese rock and metal scene was like back in the early 90s in contrast to right now in 2012. Can you tell us a little about what things were like and the major ups and downs in Lebanon’s metal scene since then?

This can take forever. So I will just get past the very major points. Some people are clamming that the scene was better before. That is not true. Some are saying it is better now, that is not true either, there are things in the past that were beautiful, and other ugly, same as today. The scene is considerably bigger now, and this is why it seems for some that the scene was more united back in the 90s... NOT TRUE, Back in the 90s our biggest drawback was the enmity of certain bands and their fans, and as well the hostilities between the Metal scene and the “Core” (Back then the Hardcore/NuMetal scene) so things haven’t changed much from this perspective.

The major problem of today’s young Metalheads is that they have everything handed to them on a plate of silver, they did not face what we did in the 90s and so do not sometimes appreciate what they have and instead of being a positive force they... again I say SOMETIMES, act immature and fuck up the scene. For example, in the 90s we did not have internet access, and if we did it was limited. Blaakyum was the first band to use internet to spread the single “Am I Black” and yet it was only available to Lebanese after 1999... before that few used and had the capacity to use internet. So we had to look for music and dig it from the ground, literally!! We had no rehearsal rooms like today where you can simply rent a rehearsal room for the band, that was barely available, the first rehearsal rooms were available in 1997 and only in Mansourieh (Mount Lebanon) and were expensive and had no backline!!! Buying your instrument in the 90s was hell... promoting a concert with 0 radio support, 0 TV support, 0 Magazine support was hell, and as I said the internet was not a social network place... all this made our lives harder, but we were so passionate about what we do, I think some of that passion is lost today. Many unworthy horrible, untalented bands are playing in gigs over and over, this wasn’t the case back then, because back then putting up a show or a metalfest was made by blood and sweat that we could not afford an armature band, Actually Blaakyum in 1996 was not much appreciated because it was still an armature band, and so it was a risk, we had to work our asses hard to prove that we were worthy to be back on stage, we were lucky enough not to be cast out of the scene, but going on stage before you were a kick ass band could have meant the end of your band back then.. Today bands keep on getting second chances no matter how they suck, till they eventually get better or cease to be, that lead the level of musician-ship to drop a bit in the scene...
On the other hand we have today, internet and three major webzines in Lebanon, other than the big Middle Eastern webzines like Jorzine, Metality and others... As a result the young are much more informed and learned about music, and we have major instrument shops, Modern Music Schools (non existing before 2002) recording process has become ultimately cheap and available even at home... and the scene is very much active... We saw a boom in the scene when Cherry’s Pub was alive from starting 2006, which was the only Metal venue in Lebanon, sadly from 2009 we have seen two major disasters, the closing of Cherry’s which I ran personally and I can tell you it was due to lack of support, and much ingratitude from the new generation, though on the other hand a lot of metal fans showed endless support but they were few in numbers if compared to the ungrateful bunch. And in 2011 the major Hall that saw endless Metal and Rock fests, Tantra (Hektik) Kaslik was raised down to the ground and is now a parking lot! Today our major problem is the unavailability of venues, a Rock venue practically do not existing.

If this Rock and Metal scene unite, it can create a good market for music business and thus can make someone interested in investing in a venue. The only reasons venues existed before were either because they were not exclusive to Metal, or because someone was willing to lose so much money to keep the venue!

That said, it is not as bad as it sounds, as in summer we have plenty of festivals and places to play, we have finally started to see international bands of good calibre, and big festivals like Beirut Rock Festival are taking place.


In songs like “The Land”, it is really obvious that you take influence from famous Lebanese musicians. Can you tell us about some of your non-metal influences, both Lebanese and Western?

You mean Lebanese Folk artists... Many bands whether nationally or internationally incorporated oriental music, I think what sets us apart from other bands is the fact that we are the first to incorporate Lebanese Folk music. From the Lebanese pool I am so much influenced by Lady Fairouz, and Lady Sabah, as well as the genius and limitless Marcel Khalifeh... And as being a Lebanese this means that Ziad El Rahbani is engraved in my soul like any other Lebanese. As well I am extremely fond of classical Arabic music, such as the Mouwashahat or better known as Mouwashahat Andalusia, and Roudoud El Halabia... Music of Oudh artists like Marcel Khalifa and Charbil Rouhana has a huge influence on me too.
As for western music, I am a huge fan of Andrew Lloyed Webber, Hans Zimmer, as Theatricals and Film soundtracks are among my fascinations in life... add to that my eternal love for Celtic Music that has been delivered gorgeously by Loreena Mckennitt (we covered one of her songs in the Hourglass’ EP Ancient Hope), and Classical Music such as Beethoven, Bach, Vivaldi, Rimsky Korsakov, Tchaikovsky... etc


Wissam Tabet was featured on Lord of the Night, composing all the orchestral parts for the album. Can you tell us about how that came about?

Wissam Tabet was the Keyboardist of Blaakyum during 2008 and 2009, when I wanted a permanent member to handle keys and orchestration, due to his lack of time and due to Blaakyum’s more Thrashy nature, it was evident that we cannot have a Keyboards player as a permanent member. So at some point during 2010 we had Joe Hannoush (a virtuoso player known for his work with his band Void) as our live sessionists player. When we decided to record the orchestral parts and include them in the album, I contacted Mr. Tabet again since he knew the songs. We worked on them together, as I actually composed the music, but since I do not have a good musical background, Wissam Tabet was our major arranger, and I chose him because unlike Hannoush, he is more into Classical music, especially Baroque, while Hannoush is more into modern music especially Jazz. Wissam is a musical genius, and we just click together, add to that another contributor in the arrangements, Mr. Anthony Saab, another genius... really this Land has an abundant amount of talents! Mr. Saab handled the Wind instruments, Brass section and the choir... so I guess this collaboration gave good results.


What got you into playing music in the first place? Do you have family members who inspired you to pick up the guitar or start singing?

As most know by know I was a break dancer, and I use to do my own choreography as well as organise musical dance pieces on the stage of my school where I was as well learning to become a priest. I’d have sometimes up to 15 dancers, whether it was Break Dance or expressive dancing... so I was in to that field ever since I was 12. As well my uncle had left me his two guitars, a gorgeous and expensive Classical “Contreras” guitar, which my neglect led to its blasphemous ruin (but that was way after I learned guitar) and an acoustic “Ibanez” guitar. As well as some of his Bob Dylan tapes, my father was a Beatles fan and had a band when he was young. But ironically my first instrument was Drums. I learned it when I was becoming a priest as the order I belonged to was that of the Salesians of Don Bosco, who was a saint devoted to the youth culture, thus the existence of the stage where I use to perform and the existence of a drum set at the monastery I was learning at. Then a nun there taught me my first three chords... later on, after I formed Blaakyum in the summer of 1995 I went and took basic courses with Mr. Tony Campbell, And that was it, from there I was self taught... As for singing, I have no fucking idea why I did that!!! Maybe because of my dancing shows I was use to be the frontman... And do not get me wrong, I had a horrible voice when I first started, I use to imitate in an immature way the high pitch of Axel Rose back when I as 15 and I used to use that immature high pitch to sing Europe songs, all this in my bedroom, to the horror of my family! Even the first Blaakyum line up change came after a dispute with the co-founding lead guitarist Jad Nohra, who is now an eternal friend, because he asked me to stop singing and focus on Rhythm Guitar or else he would leave. This whole thing led me to start taking vocal lessons with private tutor Mr. Edgar Aoun, who was known back then as “Le Tenor Du Liban” the Tenor of Lebanon...That was during 1998 and 2000 Ironically I never used my new learned techniques till I joined Communion in late 2002.


What have you been listening to lately?

Mostly Hans Zimmer and Nicolai Rimsky Korsakov, and a lot of Celtic music. On the Rock and Metal Side, mostly Whitesnake, Judas Priest and Testament.


Stepping away from Blaakyum for a moment, you also sing in The Hourglass, a Syrian band. How did that come about? You guys also opened up for Moonspell and Katatonia last summer! Can you tell us about that experience too?

Well in 2001 the split of Blaakyum affected me deeply, I was depressed, I think that aggravated my vocal problem as I had a throat disease and couldn’t sing for almost two years. When I recovered I was willing to do anything, that lead me to joining more than one band, Communion was the first, after trying out with the band Armory, but at that point I guess I was a bit sick of pure Metal, so I didn’t take the offer and instead joined Communion whom at the time were not musically as good as Armory, but I saw their potential. After that in 2003 I was approached by Mr. Salim Zahra who was the bassist of the Progressive Metal band Solitaire from Tripoli... I remained with Solitaire and recorded an unreleased Album. Rawad the founder and mastermind of The Hourglass was studying in Lebanon and was part of a Tripoli based Thrash band called Neo Blood. Later when he formed The Hourglass in late 2003 he was referred to me by a fellow vocalist called Razmig. We had already met in 2001 in Blaakyum/Alienz Rehearsal studio. So He came to Lebanon gave me the songs, asked me if I’d sing, I went to his beautiful farm in Homos, rehearsed, few weeks later hit the studio recorded the first album in 2004 and from there it went on.
About Beirut Rock Festival, that was my second experience of opening for an international act, as the first was with Blaakyum opening for Lake Of Tears... And in both times I was lucky to be in a band that got the actual opening spot, as in right before the headliner. What can I say, it was a beautiful experience, being backstage with Moonspell who were a childhood hero band for me, and Rawad is a classic doom lover, so Katatonia for him as well was a lovely experience. We had to rush our set though, playing only 3 songs out of the 6 intended... because of the not too accurate organisation. That blew away the thrill, although we were as one of Katatonia members said, a local band with an international level. Well you give and take, that is life.


Not only were you part of the Global Battle of the Bands in the past, but also you’ve recently been a judge for the 2011 contest! What did you think of the bands that participated? How do you feel about Lebanon’s rock and metal music community overall

I think you and many who follow my facebook account do know that I am extremely critical about the Lebanese Metal Scene and Lebanon itself, I call it the country of retarded uncivilised people... and I am very voicefull about my disgust of Lebanese mentality, politics, religion and what have you, so be sure that what I am about to say is not coming from any sense of patriotism or self praise:
My answer to your question, I think we have the best Metal Scene in the Arab world. And second best in the Middle East after Turkey.


If you could give some advice to a young aspiring musician from any country in the Middle East, what advice would you give?

UNITE! Our small local scenes are meant to fail on their own, our only hope is for the Middle Eastern Scene to become a single scene, and only then will we rise.
As for musicians, before you become a musician, specially a rock or metal one, be sure you want to make that choice, it is a life of pain and sacrifice, if you are looking for fame and fortune, or if you think being in a band will bring you p*****s to f**k, then either go sing pop, rap, or just work on your muscles and you have plenty of empty headed dumb chicks to f**k... If you make the choice of playing rock and metal, remember that this is not a hobby, if it is please f**k off, we do not need g**s like you, go have a scout music group for a hobby. BUT when you make that decision, remember that that was your choice, this is who you are, and once you start, never give up, everyone else will try to put you down, give them the finger, learn music, learn it hard, learn it well, and create, that is the ultimate pleasure, do not give up, support your fellow musicians, support your scene and grow with it. Remember that we are not fighters, for this war is never meant to be won, Metal is not pop nor mainstream, but we are eternal warriors, live by the code of honour of the Metal Warrior.


Do you and the guys have any pre-gig traditions before you hit the stage?

Yes, we come late (hahahaha)
Well, not really, maybe when we all have girlfriends, we would join in a big orgy before we play... Donno does that work?


What do you enjoy doing in your spare time when you aren’t writing or playing music?

Writing literary poems and prose, playing video games, annoying people who have neutral opinions, corrupting society, and especially the women who are slaves to men’s hypocrisy... it is time to crush our prehistoric traditions!


Are you guys planning any shows outside of Lebanon in the near future?

Yes we are. But first we are organising a Lebanese Tour, no band had ever toured Lebanon, I think far places like Bshareh/ Al Arz, Tripoli, Zahle, Shouf, Saida, Sour, all these deserve to have bands going there even if at the beginning it might sound strange.


Thanks so much for your time Bassem! All the best with Blaakyum and The Hourglass!

Thank you and keep up the good work Keeping Metal Alive \m/

Visit BLAAKYUM on: Facebook | Official Site

Genre: Heavy Metal/Thrash
Label: Self-Released
Released: January 13th, 2012
Reviewer: Kareem Chehayeb

It took Blaakyum, Lebanon’s oldest active metal band, 15 years to release their debut full-length…makes “Time” (Wintersun) sound like a rushed album. Blaakyum is a band incredibly well known around Lebanon and has a very solid and unique lineup. The band began in 1995, split up in 2001, and returned in 2007. They represented Lebanon in the 2007 Global Battle of the Bands and were placed in the top 10 in the finals, which took place in London. The band consists of Jad on drums, Rany on bass, Elias on lead guitar (also plays lead for Weeping Willow), and founder, Bassem, on vocals and guitar (also vocalist for Syrian band, The Hourglass). Lord of the Night was recorded and mixed in Lebanon and mastered in Cutting Room Studios in Sweden (Meshuggah, Hypocrisy, Behemoth, In Flames). This album is for those who love Testament, Megadeth, orchestral, and Lebanese music (to a certain degree).

The album opens up with Dark Moon, a three-minute intro of orchestral goodness, courtesy of Wissam Tabet. Choirs, pizzicato violins, and cellos that eventually morph into an Epica-like symphonic metal passage that ends with a gong. Lord of the Night, which is the first full track of the album, follows in relatively smoothly. Sounds a bit like something that would come off of Megadeth’s Rust in Peace with a Lebanese-edge to it. Bassem’s vocals really impressed me. He is incredibly versatile. The chorus has such a catchy tune and a great melodic atmosphere that differs from the relative groove of the rest of the song. Bassem’s vocal chords take abuse with the intensity of singing, whether he’s hitting some falsettos, growls, or even what sounds like tenor operatic singing. Elias’ solo is phrased well, a combination of catchy melodies with some technical playing, and the orchestras punching behind the rhythm parts sound surprisingly well. Overall, it was an enjoyable song.

Another old track that is popular amongst the fans of the band has also been included on this, the awkwardly titled “Am I Black”, a song Snoop Dogg won’t be too fond of. Title aside, it’s a very cool song. The orchestra in the beginning is beautiful, and the tune is reminiscent of contemporary (but not too contemporary) Middle Eastern music. Bassem’s operatic singing is fantastic, and the growls in the interlude sound demonic. It’s a very catchy song and it was definitely well done and improved from the demo released in 98 with that title.

The Land is a unique track on the album as well. It’s the track that Middle Eastern and folk metal enthusiasts will want to check out. The intro with the acoustic in a style reminiscent of the “oud” is something different on this album, and the tunes remind me a lot of some older singers in Lebanon, which is something I personally enjoyed, because it was incorporated nicely with their western metal influences. Bassem once again just does outstandingly well with his singing. The chorus also has some Arabic – “Lebanon, land of love and peace”, and so does the outro. The outro goes into a completely different time signature, a lot like a traditional Lebanese song, and you can hear some “tablas” and tamborines towards the end. It’s definitely a catchy song, and is a more genuine “Middle Eastern influenced” attempt by a regional band.

Songs like Last Stand, Battle Roar, Rip It Off all are enjoyable as well. They sound like reformed thrash songs from their glory days. What I think allows this band to prevail over the tens of bands from the Middle East that play thrash or heavy metal is influence that comes directly from Lebanon. I think when bands claim they’re influenced by Middle Eastern music, they don’t look past the harmonic-minor scale, and that is a BIG mistake. Another factor is Bassem’s vocals. The diversity, from his dynamic range to his falsettos and growls, gives a unique edge to the metal. The tunes he uses combine stuff you may here from Metallica and Megadeth to stuff that can come out of Arabic music in the Levante region of the Middle East.

Overall, it’s a solid album. The 15-year wait was definitely worth it. While many think that too many bands in the region who play thrash/heavy metal are not innovative and not very genuine, Blaakyum are a different case. The veteran band released a solid and enjoyable album. Bassem took his time and went through many lineup changes before finally having Lord of the Night sorted out and arranged carefully.

It is really astounding that some of these tracks are over 10 years old and still made it in without major changes and still sound fresh. That being said, some of the tracks definitely stand out while others fit in well but don’t blow me away as much. Rany and Jad make a very solid rhythmic unit, but give way to their own creativity more than occasionally throughout the album. Elias’s solos are not as technical as on his work with The Weeping Willow, which in my opinion is a good thing. The well phrased melodies and “feel” in his solos on this album show a different side to him, and I personally enjoyed that as well. His solo on Awakened Dreams is my favorite at the moment. Bassem’s vocals really stole the show for me on this album, and play a huge role in why I enjoy this album. Last but not least, Wissam’s orchestral work was fantastic and did not drown out any of the songs, but made them a little bit more interesting.


Recommended tracks:
Lord of the Night
My Land
Awakened Dreams
Am I Black

I give this album a 7.5/10

Visit BLAAKYUM: Official Site | Facebook

Genre: Death Metal

Label: Listenable Records

Release-date: September 26th, 2011

Reviewer: Kareem Chehayeb

From Paris, France, Livarkahil deliver one of the heaviest sounds I have heard in a very long time. Their newly released album, Signs of Decay, is one of the heaviest albums I've listened to in a very long time. I don't really know how else to describe it. Think of old Mastodon and Gojira infused with Behemoth and Vader. The band consists of Herr Krauss (HK) on vocals, Traume and Kaiin on guitars, Neil on bass, and Skvm on drums.

After the sinister build up of the short intro track, "In Nomine Patris", "When Hell Is Near" opens up with pounding drums and heavy riffs accompanied by gang chants and HK's ground-shaking growls. The song is is absolutely chaotic and Livarkahil mean business from start to finish. The amount of energy fueled into the song is unbelievable (and the same goes for the other songs). I also have to give credit to Traume and Kaiin on their great guitar work. The riffs are solid and the guitar solo in this song is very reminiscent to Nergal's work from Behemoth.

The next track, Quiet Hersey, has a faster build up, and Skvm really shows his technical ability as a drummer. The double bass work is incredible, and his blastbeats are out of this world. Kudos to the guitarists once again for the beautiful lead work with a simple and melodic solo adding some "color" to the song.

Art of Bleeding is the longest track, at 6:02 minutes. HK shows his vocal range and versatility; all I can say is that I'm VERY impressed. This has to apply to the rest of the musicians too. This song is very dynamic, and has so many different things going on! I really enjoyed this track.

We Hail the Victory is an instrumental track, but it's still great. The melodies are beautiful, and behind them a tight rhythmic unit. There are various parts in the song with some French dialogue in the background. All in all, it sounds like an incredibly sinister song. It's one of my favorites, even though we (unfortunately) don't get to hear HK's ground-shaking growls.

Heaven Shall Fall is another one worth listening to. It's one of the heaviest tracks on there, and as all the other tracks, it has pounding drums, heavy riffs, insane vocals, and technicality all around!

The Flesh of All Damned is a unique track, as it tones down the brutality (just a little bit) and gives way to some darker and melodic movements within the song!

I really enjoyed this album. It really is refreshing to hear a band that does not overdo with progressive elements, because it is definitely becoming a trend these days. On the other hand, I think the band can diversify with their sound just a little bit, perhaps with the keys they're playing in. Livarkahil are on their way though, and being signed to Listenable Records and releasing this tight album, expect to hear more from them soon. I highly recommend listening to this album!

Favorite tracks:
Art of Bleeding
We Hail the Victory
Signs of Decay

I give this album a 7.5/10

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Click here to order "Signs of Decay"

[By: iRoar]

Founded in 2007 in Kuwait, and now spread out across the world. Voice of The Soul is one of the middle east's hardest working bands. The young foursome has already released 3 EPs with "Into Oblivion" being their latest opus. And continue to gain more and more supporters around the world for their highly active and professional work ethics.

While the members of Voice of The Soul live in different countries for University; the band manages to stay connected via online meetings to swap ideas for new songs. When the time nears for recording; the band heads back to Kuwait to record at Sarj's Studio (one of the region's premier destinations for quality rock and metal recordings. Responsible for some of the best releases from the metal scene in Kuwait such as; Benevolent's "Divided," Depth's "Memento Mori" and Black Well's "The Human Condition".)

I got a chance to catch-up with founder/frontman Kareem Chehayeb to talk about the band's latest release "Into Oblivion," his favorite bands from the middle eastern metal scene, which international acts would he like to open for, and more.
Here's how it went:


First of all I'd like to thank you for this opportunity. Voice of The Soul has been hard at work after releasing it's latest EP Into Oblivion. How is everything with the band lately?

The pleasure is mine. Thanks for providing the opportunity! Things with the band are going well. We've been struggling with organizing shows this winter…the lack of shows in the region and the fact we're all under 21 are two factors which kick us in the nuts on a daily basis. Otherwise, we've been working on our official website, more merchandise (including CDs of Into Oblivion EP), and our cover contest. All these things will be sorted out soon, and we're very excited…hopefully the supporters are too!



Into Oblivion was released last month via Bandcamp. The reaction has been extremely positive from fans and critics alike since it's release. Are you personally happy with the end result? Do you feel you've achieved what you originally set out to do with the release?

Yeah, definitely. Though some have said otherwise, I think this is a huge step up from Eyes of Deceit and Winds of Apprehension. I think this was definitely a more confident effort, and the amount of time and effort put on each song compared to before was second to none. It's heavy, it's melodic, and it really puts out the message. At the same time, I think it also has a unique twist to it. So yeah, I think we're all very happy with it.

[Live photo taken at Annihlation Gig 5 in Dubai, UAE]
Monish (Left), Kareem (Right)

What does Into Oblivion center around? Does the EP have a recurring subject, or is it a culmination of lyrics over the course of writing for the EP?

Monish and I are the people who usually write the lyrics (though everyone contributes here and there). I feel like we have a reoccurring theme on society and people. I'm not surprised, though (laughs). I think each song has a different story behind it, but they all portray the same message: people are fucked up and are fucking each other up. The greed, apathy, ignorance, and arrogance of typical society today is astonishing…Of course, some songs are more personal than others too. We sometimes write about these things based on our personal encounters and experiences, but also based on things that we read about or see with others.



Into Oblivion features a killer cover of At The Gates' "Under A Serpent Sun." Being a more straight forward melodic death metal band. What other veteran bands influence you?

When we started writing originals, we had this obsession with Dark Tranquillity. Monish and I couldn't stop listening to them. It was worse than how most little kids are with Justin Bieber. We also really enjoyed Arch Enemy, old In Flames, King Diamond, Kalmah (holy shit did we love Kalmah and still do). We really liked Opeth as well. Blackwater Park still blows me away! Finally, though not considered a "melodic death metal" band, Death's latter few albums have some beautiful melodies in there too which inspired us big time.



Speaking of covers. The artwork for the EP looks spectacular! Which was handled by Israeli graphic designer Vincent Monsonego. How did you guys come about working on the artwork with him? And can you tell us about the concept behind the cover?

I'm friends with his wife, Alexandra, who is a vocalist for a band called Soul Torture. They're into Arch Enemy and Dimmu Borgir a lot…anyway, we talked to a few people who told us they were interested before, but they wouldn't respond on their emails or would not get anything done on time. I was talking to her one day, and she told me her husband is an artist/graphic designer, and she told him about us. He was great! He was incredibly helpful, supportive, made a front and back design, and a really cool backdrop sorta design. I couldn't be thankful for both of them!
As for the concept, Vincent had a couple of unmastered new songs with him while designing the artwork. He had a concept about the contrast between life and death, which was very similar to what we had in mind as a band. Overall, it's the struggle between living and fighting to be free or dying to be free elsewhere. It sounds pretty twisted, come to think of it (laughs).



More and more international acts are being confirmed for performances in cities like Beirut, Abu Dhabi, Dubai, and Cairo, such as; Metallica (at Yas Arena in Abu Dhabi in October) and Megadeth (at The Mutt Rock Festival in Dubai in December). If given the chance which band would you like to see Voice of The Soul support on a big international festival or event?

It's incredible how many metal bands are coming this year…though I really wish the Middle Eastern fans gave more attention and time to their own bands. There are way too many bands to list for that though (laughs). I can't speak for all the members, because we all have different favorite bands…I think it would be a dream come true to open up for Dark Tranquillity. We don't have the exact same sound, but they're legends! If anyone asks me what I used to do between the ages of 16-17, I'd simply say "listening to Dark Tranquillity". Since Carcass have reunited for some gigs, I'd love to play with them too. They're some of the most underrated and honest musicians in the metal industry. I guess it's a tie between the two. There are other bands I would mention, but the legacies both of these bands left behind in metal music are almost unbeatable!



If you were to organize a headlining tour for Voice of The Soul, which Middle Eastern bands would you like to take on the road with you? What are some of your favorite Middle Eastern bands?

We've been fortunate enough to gig with some great bands in the Middle East, including Midway, Osprey, We Left As Skeletons, Billy Bob's Blood Drenched Brew, Apeira, and Obselion. I'd want to bring about 20 bands with us though (laughs). In all seriousness, if we had a headlining tour, I'd like to drag a bunch of Kuwait-based bands, particularly Black Well, Benevolent, and Depth. They deserve so much more exposure than they get…

I've been a Nervecell fan-boy for almost 4 years now. More than their sound and achievement, I like their humility. I really like a lot of the stuff that many of the bands from Kuwait come with. It's a small community there, and we all know each other and share the same issues. I've known the guys from Depth for ages now…probably 5 years now. I've gotten to know the guys from Benevolent and Black Well for the past few years, and we're all close. It's really nice when bands come together and support each other. There is too much silly and bitter rivalry…moreover, I love Kaoteon as well. I also should mention another Lebanese band called Monarchy. I saw them at one of the Heats for Global Battle of the Bands, and they blew me away. They sound a lot like Myrath actually! Keep an eye on them. From the UAE, I've been keeping an eye on Perversion and Coat of Arms a lot. There is so much talent in the region, I have to stop here (laughs).



The Middle Eastern metal scene has been seeing a boom in terms of big events and promising acts emerging. With the help of the internet, Facebook and sites like Bandcamp and Soundcloud, it's been easier for bands to get their names out their. What is your advice for a start-up band to help them gain some exposure?

Never stop dreaming, but be reasonable and logical. Don't expect Terrorizer Magazine or whatever to respond and give you a full-blown interview right beside one by Watain! Twitter, Facebook, Youtube, Reverbnation, Bandcamp: all these things are essential. It seems redundant in some cases, but you have to have as many branches as possible. Also, this is slightly cynical, but don't be afraid of approaching people. Most people aren't going to make the effort to find out what's going on with the band unless it comes to them (Hint hint, fans). Just don't overdo it…you'll piss people off otherwise. Also, use proper spelling and grammar. I think it looks more professional rather than having a tweet that goes "hai errbody, we have a gig 2night! ;)"



Thanks a lot for doing this. It's always a pleasure to chat with you. Would you like to add anything?

Thank you Metality!

[Ed note: The following video was provided by Kareem.]

Make sure to visit Voice of The Soul on Facebook. Listen to the entire new release "Into Oblivion" on Bandcamp. Support the band by paying which ever price you may to download the EP! (or put "0" for price to download for free).

Genre: Progressive Rock/Metal

Label: Self-released

Release date: September 1, 2011

Reviewer: Kareem Chehayeb


Bader Nana is a Lebanese musician who lives in Kuwait. Wormwood is his first album; however, Nana isn’t a new face in the Kuwait rock/metal scene. Most music enthusiasts in Kuwait will remember his involvement with progressive metal band, Terminus, where he was lead vocalist and guitarist. More recently, Nana played drums with another Kuwait-based prog metal act, Benevolent, for a short period of time. So for those who know the Kuwait music scene relatively well, this album has been highly anticipated for a while.

At first listen, I was able to notice influences from Pink Floyd and Dream Theater, with melody phrasing similar to that of John Petrucci, Neal Morse, and David Gilmour. After checking his artist page on Facebook, I was correct…but enough with the self-gratification! Bader’s experience as a musician definitely shows on this album, and though the influences of Dream Theater are definitely the most obvious, it is by all means not an imitation, and there is a very unique identity to this album.

The album opens up with an instrumental intro track called “Wormwood”. It’s atmospheric and quite eerie, but directly leads to the first track, Rose; the track opens with a beautiful acoustic part accompanied by simple drums and beautiful string parts. All the tracks connect together like Pink Floyd’s “Dark Side of the Moon” album, which is something I really enjoyed about this, being a concept album and all. Many of the tracks are similar to Rose: atmospheric, melodic, and usually on the lighter side of things.

However, Quarantine, which Bader put up on Youtube as a teaser for the album, comes in with a heavier riff with more chug and groove, and it sounds really great. The smooth bass-lines that accompany the offbeat drums sound great.

One of my favorite tracks is The Answer. It’s incredibly heartfelt, and has the nice balance between relatively heavier chugged riffs, atmosphere, strings, and an incredibly well phrased guitar solo by guest musician, Ramzi Ramman, who plays in a band in Lebanon, called JLP, though I think they’re a cover band (which is unfortunate, since he can write/play solos like that?!?!).

Desperate Measures is also a unique track: a four and a half minute long instrumental that is on the heavier side. The riffs are groovy and the drums are pretty intense. Definitely reminds me of Dream Theater.

The last track I’ll mention is the final track, Destroyer of Worlds. It’s another incredibly heartfelt track, and goes for thirteen minutes. It’s an incredibly powerful song that is incredibly dynamic. It really shows the potential and versatility of Bader as a musician and songwriter. Be sure to listen to all the tracks of the album, especially if you’re a fan of Pink Floyd and Dream Theater.

Wormwood is a concept album about the bubonic plague or “Black Death”. All the lyrics link together and compile the story of a girl, Rose (appropriately named too, if you history geeks know what I mean). To quickly summarize the story: Rose is born, and her beauty is nothing but of grandeur. As the story develops, she isolated from everyone, loses her parents, and eventually the world. She realizes that she is the plague. Once she realizes this, she chooses to end her life, by flying towards the sun, though I don’t know if she is literally doing that or if that’s just a metaphor for a simpler suicidal method.

I can go on about the lyrics for hours. They’re well written, and complement the passion and emotion of the music incredibly well. I personally enjoyed the lyrics of the latter songs (All Fall Down), where Rose makes the eventual self-realization that she is the plague itself. You can almost show sympathy for her.

Bader Nana, not a stranger to the music scene in Kuwait, but this is first official release, and what we got is a very well written album. The music is diverse, atmospheric, and all connect well. The lyrics are also written well. Not only do the songs flow together smoothly, but also flow together with the lyrics (which also flow together….erm smoothly) in order to have a clear and coherent concept album.

Wormwood’s fantastic, and is album everyone should check out, unless you really hate Pink Floyd and Dream Theater. My only criticism is that I feel like there was way too much Dream Theater influence there, but I can’t hold that against him. I can’t wait to hear what Bader has to offer next, though.

Favorite tracks:

• The Answer
• Quarantine
• All Fall Down

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Visit Bader Nana on Facebook | Bandcamp

Genre: Death/Thrash Metal

Label: Spellbind Records (Middle East)/Lifeforce Records (Europe)

Released: March 31st (Middle East), May 2nd, 2011 (Europe)

Reviewer: Kareem Chehayeb


Nervecell is by far the most successful band in the history of the Middle Eastern metal scene. What they have accomplished has inspired many others to try and do the same. Essentially, you probably live under a rock if you haven’t heard of Nervecell and happen to live in the Middle East. Psychogenocide is Nervecell’s second full-length album, and it has lots to live up to, after their huge success with Preaching Venom in 2007. Psychogenocide was released in the Middle East under Spellbind Records, and under Lifeforce Records in Europe. The lineup still consists of Barney (rhythm guitar), Rami (lead guitar), James (vocals/bass), and Psychroptic drummer, Dave Haley, recording drums - talk about a deadly alliance!

What I always enjoyed about Nervecell is how they used Middle Eastern influences without sounding cheesy and tacky. They apply it subtly to their influences, which sound a lot like Morbid Angel, Cannibal Corpse, Suffocation, and even Nile to a certain extent. Psychogenocide has more Middle Eastern influences in there, but they also upped the amount of brutal death metal in there too. I can’t say I disapprove one bit!

The album opens up with Anemic Assurgency, a 2 minute chilling intro track with the “oud” being played with what sounds like tympanis, cymbals, and a couple of Arabian percussion instruments. There are some light backing tracks too in the background to fill up the atmosphere, and it sounds awesome.

Upon An Epidemic Scheme comes in and all hell begins to break loose. James comes in with a growl that sounds in a different range, and I knew that I was going to love this. Though I will never complain about a vocalist’s range being too similar, I think it’s awesome how James is going for mid range vocals in some parts of the album without getting rid of his lower growls, which are incredible as is. The way the song is structured reminds me a lot of Symbolic-era Death, where there was the experimentation of different time signatures and offbeat rhythms, but using it sparingly to make the song a bit more unique, unlike many bands today….

All Eyes on Them is the next track and while it delivers the same skull crushing riffs Nervecell always deliver, I can’t help but say that the interlude in this song is incredible: the short clean portion, Rami’s short but sweet solo, and the heavy breakdown with James’ growls and incredibly tight riffs. I was really impressed with the song.

The next song is one of my favorites off the album: Amok Doctrine. Though I am usually the passive stander at the metal show, observing the band’s gear and watching the musicians play, I would be a 15 year old again and headbang to this till I can’t feel my neck. The black metal-esque verse is incredible too. James tends to use high screams to layer his growls in various parts in this song and it sounds incredible. Of course, I can’t help but to notice another great interlude with this song. The riffs have a great groove to them and the leads sound great and memorable. Just like in their last couple of tracks, they use a variety of different riffs but keep them well connected. The title track, Psychogenocide, is another excellent song. I felt a little bit of Necrophagist in the intro, which always makes me happy. If anyone wants to hear the dynamic variations in James vocals, I think this the right song! It’s incredible, and I can’t help but to applaud Rami and Barney as well for the riffs on this song too.

Shunq (To the Despaired…King of Darkness) features Karl Sanders from Nile doing vocals with James. James growls in Arabic, and Sanders growls in English; holy shit. This is definitely a track you can’t miss from the album. While Nervecell aren’t the first metal band to have Arabic vocals (Kaoteon have done so in the past with Anthem of the Dead), they did a great job with it. The combination of James' deep growls (which have gotten deeper since Preaching Venom – somehow) and Karl Sanders raspy growls combine incredibly well! This song has a consistent groove to it but gets incredibly technical and sounds more like Nile and Necrophagist. Of course, Rami plays a beautifully phrased solo towards the end. I think that solo in particular is my favorite off the entire album.

The Taste of Betrayal is an instrumental track that is a lot more atmospheric and somewhat mellower than “Ratios” that was on Preaching Venom. I did enjoy the use of traditional percussion instruments in the middle of the song, before Rami unleashes an eerie guitar lick that ultimately ends the track.

Driven By Nescience comes after and puts this album back on its brutal course. It comes in with no fancy introduction with a groovy breakdown that is bound to stir up some chaos in a moshpit. I can’t help but to praise Dave Haley once again; he is an incredible drummer! A notable feature in the song too is the black metal like interlude. I thought it gave it a cool atmosphere, and I always felt that Middle Eastern influences could go hand in hand with some black metal.

All in all, Nervecell somehow raised the bar again. They came up with a unique new album that had all the great things Preaching Venom did, but also added something new without changing to the scope of the band. I’ve definitely been following Nervecell religiously since I saw and met them at Dubai Desert Rock Festival 2008, but I can’t help but say that this is one of my favorite Death metal albums that came out this year, and definitely one of my favorite death metal albums in general. This band constantly impresses me, and I wish I could say something negative about the album. I’d give this a 10, but no album is perfect, so this will do:

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Order Psychogenocide through:

Nervecell Online Store
Lifeforce Records Store
Amazon (Germany)
Amazon (UK)
Amazon (France)
CDON.com
iTunes