When Greek innovators Hail Spirit Noir spewed forth in recorded anger eight years ago it was with tones of the Aegean gracing a strange brew of Blackened Prog Metal. Fourth long-player Eden in Reverse (Agonia Records) sees the completion of a gradual metamorphosis into total Prog, with the absorption of the band’s live musicians transforming the unit into a sextet. Continue reading
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Inferno Metal Festival, Europe’s longest running and most extreme black and death metal festival arrives again next April in Oslo. The fest has announced a change to their Dark Essence sponsored Stage with Madder Mortem dropping off and Sarkom and Slegest jumping on the bill. Continue reading
Saudi Arabian Black Metal? I know. The guys of AlNamrood deserve full marks for merely attempting it, right? When you consider that Melechesh felt forced to depart the allegedly less extreme Israel after fierce opposition to their fiery output, these fellas must have been shitting themselves at times. And Diaji Al Joor (Shaytan) is their fifth album…
If those new to the band are guessing at some nasty old ranting with a middle-eastern influence, you’re on the right path: mystical sounds course through the album, with the percussion of ‘Zamjara Alat’ possessing a hollow tone and augmenting the exotic winds. It’s this blend of such haunting beauty with a sinister horror that grabs the ears from the outset and the eerie, scene-setting opener ‘Dahleen’ is adorned with Arabian chanting and the stirring pipes which grace the region’s music.
There’s an element of the theatrical and (whisper it) comedic about certain aspects: Humbaba’s vocal delivery is a crazed, blustering shout rather than the expected evil rasp; and the swerving riff of ‘Hawas Wa Thuar’ is augmented by what appears to be the sporadic bursts of kazoos. It’s a little like Hail Spirit Noir finding Khaleeji Folk: that outfit’s mad switch of obsidian MOR given a hefty Asian groove in the infectious melodies of ‘Ejhaph’, the album’s rough production and those angry bellows adding an almost Pirate metal, ‘singalong’ element to proceedings.
Those indigenous rhythms and instruments add wads of intrigue and originality to the fire however, and it’s here where the strength of the album lies. Despite a ferocious riff and vocal ‘Adghan’ would be merely a bizarre, Doom-laden take on Rotting Christ without those enlivening Eastern overlays. Here is a true melding of cultural styles and this makes for a curiously joyous experience.
Many will undoubtedly dismiss this as Extreme metal novelty or, even worse, worthy of attention for bravery alone, which would be a travesty because there’s real gravity and a stunning inventive ability at work alongside the rampant hostility. Together with those wonderfully hypnotic melodies, this makes Diaji Al Joor enthralling and, in a ‘mad genius’ way, quite brilliant.
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