H A i L S A T A N !
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| | . // \\ . . // \\ . . / / \ | . // . . \ / |
| __| |__// \ \\_| |_// \ \\_| _ /___/ \ \| |__//__| |__\ |
| \ |_ / \ \ | | / \ \ | | / \ \ |__ ___| | / |
| \____// . \|___|/ . \|___| / . \ ____\\ |/ _____|
| ----/__________\ - /__________\ - |__/__________\ ---- \___________/mK^dS!
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| | Al-Namrood-Estorat_Taghoot-AR-CD-FLAC-2010-CATARACT
| - EST. 2o14 - | .....................................................
| ____.____ ____. _______. __________________________________________
| _\___|. /____._/ |__\__ |_) (_.
| \ | _ | __| | | STORE: 00-00-2010 RELEASE: Check a bot |
| \ | / | __/| | | GENRE: Black Metal |
| \___|__/| | | | | | BiTRATE: 1046kbps Avg 44.1kHz 2 channels |
| | ----|___|___|--|_________|- ENCODER: FLAC v1.3.1 |
| | LABEL: Shaytan Productions |
| | LANGUAGE: Arabic |
| | SiZE: 443.2MB |
| | FiLES: 11 Files |
| | URL: http://bit.ly/2Uvlfh3 |
| `-----------------------------------------------------------------------'
| `--------------------------------------------------------------------
| | ___________.____ ____. ______. .__._. .____
| - TRACKS! - | \__ .__| _ |_.__\__ | \ _|_| | |_| _/_____
| .--------------------\ |\ _ |\ . |_.\ \_\ _ |_____ /-.
| | \ | \ | |_\ | | \ |\ | |_. |/ /__|
| | - ---\__|--\__|_____|\__|\_|--\___|-\_|_____|____//_/|
| | |
| | [ #] [.TRACK.TITLE]....................................[...TiME..]|
| | |
| | [01]...[.Arousal At Nebuchadnezzar Fortress [.. 4:38..]|
| | [02]...[.Junood Al Amjaad [.. 4:28..]|
| | [03]...[.Estorat Taghoot [.. 6:06..]|
| | [04]...[.Ma Kan Mn Al Dahr Mundther [.. 5:48..]|
| | [05]...[.Endma Tuqsaf Al Ruoos [.. 6:13..]|
| | [06]...[.Ma'dabt Al Audhama [.. 5:00..]|
| | [07]...[.Fe Youm Thaqeef [.. 3:07..]|
| | [08]...[.Wata'a Bakhtanasar [.. 5:22..]|
| | [09]...[.Laylat Ghabra'a [.. 3:50..]|
| | [10]...[.Asda' Al Dmar [.. 7:32..]|
| | [11]...[.Ajal Babel [.. 4:04..]|
| | |
| | [56:08 min]|
| |______________ _______________|
| |_________/ \ ____________
| /___________________________________________\ \
| -GROUP / RELEASE- |/____________________________________________\
| _____ -NOTES- | ______.
| __\___ \_._______._|________._\__. |____. ____________________
| \ | |\ . |\__ .__|\ | | ___|__._____) (_____.
| \ | | \ | | \ | \ ___|_____ | |
| - -\__| |--\____|----\__|-----\__|-\_______| |
| .|___|----------------------------------' |
| | |
| | In the deserts of Saudi Arabia, where ignorance reigns and |
| | religious doctrine is literally law, media is one of the things |
| | that was off the radar. It is quite a fortunate thing in some ways |
| | that the officials there are quite ignorant of Western music. If it |
| | were not for that fact, Metal never would have planted the desire |
| | for meaningful music within those seeking a rational world in the |
| | desolation of vacant minds that surround them. From these seeds |
| | sprang a sparse few amazing individuals that have thankfully |
| | managed to make contact with one another in-order to create the |
| | music they have come to love. |
| | |
| | One would not expect Metal to meld so well with one raised in such |
| | harsh conditions, but Black Metal? Not a snowballÆs chance in |
| | hellà.right? Wrong. Once you think about it, it makes perfect |
| | sense. Black Metal is a division of the musical world that delves |
| | deeply in rejection and questioning of traditional religious and/or |
| | spiritual beliefs. Rather than expressing just sorrow, artists in |
| | this genre typically express their frustration, hate, and anger |
| | with the religious world around them. So contrary to popular |
| | belief, itÆs not ALL about glorifying the many varied forms of |
| | Satanism (though that does play a large role in some of the most |
| | prominent bands of the genre). I suppose you can see where IÆm |
| | going with this by now. Black Metal is the perfect genre for those |
| | seeking intellectual freedom in the highly oppressive world of |
| | Islam and Arab culture. |
| | |
| | Inspired by older Darkthrone (as well as Dark Funeral, Marduk, |
| | Gorgoroth, and olderBathory), one man known as Mephisto set out on |
| | a journey to find like-minded individuals in Saudi Arabia. His |
| | tenacity paid off and he formed his first band called Mephisophilus |
| | with Mukadars (from Narjahanam, Gravedom, and Smouldering in |
| | Forgotten) doing vocals plus lyric writing and Darius on drums. |
| | Though not the focus of this particular review, this band helped |
| | with two important things: to further develop the musical skill |
| | and/or taste of the two prominent band members (Mephisto and |
| | Mukadars) and itÆs eventual demise led to the creation of |
| | Al-Namrood. The reason for disbanding Mephisophilus is not a |
| | strange one given the region they are from. The fact of the matter |
| | is, many Black Metal bands from the Middle East and North Africa |
| | have disbanded or have faded into obscurity due to pressure from |
| | their governments and society. |
| | |
| | And so, it is with great pleasure that I report that Al-Namrood is |
| | quite active with the following new line-up: Mudamer (from the one |
| | man-band, Thamud) on vocals, Mephisto on Guitar/Bass/Percussion and |
| | Ostron on Oriental Keyboards/Percussion. The name Al-Namrood is |
| | derived from an ancient historical autocratic figure, King Nimrod, |
| | a despot who reigned with great evil. He slaughtered many and |
| | claimed, ôI am the god of all creationö. The idea of making Arabian |
| | folk inspired metal was suggested by Mukadars. He discussed the |
| | idea with Ostron and they ended up making one demo track which they |
| | thought worked. However, they lacked the presence of guitar and |
| | bass. ThatÆs when Mephisto joined them and suggested the idea of |
| | combining the Arabian aesthetics and music style with those of |
| | Black Metal. What you get musically, is some amazingly beautiful |
| | and brutal stuff. Lyrics are all in Arabic, but weÆll get more |
| | in-depth with that later on. |
| | |
| | The beauty of the music is not in the classical Western sense. That |
| | is where the uniqueness and innovation of this band comes into |
| | play. Where a symphonic black metal band from Europe would use |
| | violins and violas, these guys use an Oud (an ancient Middle |
| | Eastern and North African guitar) and the Tabla (African hand drum |
| | whose form varies from country to country). It does not stop there |
| | though. No, they meld the traditional with the Western so well that |
| | sometimes I have trouble distinguishing which style inspired which |
| | in particular riffs and drum beats. For examples, I will be drawing |
| | from and featuring their latest release ôEstorat Taghootö (meaning |
| | ôA Legend of Tyrannyö), a full length album released in April 2010. |
| | |
| | They mimic the basic melodies and rhythms of the Oud and downtuned |
| | Violins used in Middle Eastern music almost perfectly with the |
| | guitar and keyboards. Take the title song of the album, ôEstorat |
| | Taghootö. Starts out with the guitar playing an Oud melody and very |
| | fast paced drumming then the keyboards move in on small intervals |
| | enforcing the Arabian melody, during which, the drums crash in on |
| | the high points. Then the keyboards take center stage for a few |
| | seconds before the vocals kick in. The vocals are just raw and |
| | brutal on this album in general. Also, this track and album is |
| | really bassy. This is not something that is typical of Black Metal |
| | so I felt that it should be mentioned and emphasized. When the |
| | vocals break into this song, so does the bass and it stays for the |
| | entirety of the song complementing the guitar perfectly. At one |
| | point in the song, it has a short solo with the keyboards. The |
| | drumming remains solid and in-tune with the many changes in this |
| | songÆs pace. The breakdown is classic Black Metal in style, but the |
| | presence of the bass makes it very doomy. The the keyboards layer |
| | on, but despite the higher notes that it offers to the mix, it |
| | still sounds so dark and creepy. That just sets the theme for the |
| | rest of the song because basically all the bass and guitar are |
| | doing is mimicking the melody set by the keyboards. No dark |
| | atmosphere is compromised as it ends with the keyboards having the |
| | last say. |
| | |
| | This song generally sums up the general feel and atmosphere of the |
| | album. Variations come in with the type of Middle Eastern melody |
| | they want to showcase along with which Middle Eastern instrument |
| | they want to highlight most in a song. Also, moods tend to vary |
| | from their more brutal and vicious songs to their more dark, creepy |
| | and ancient sounding songs. Their title track was a good blend of |
| | both variations. |
| | |
| | LetÆs take ôMaÆdabt Al Audhamaö (meaning ôThe MagnificenceÆs |
| | Feastö), which also happens to be my favorite song by them and an |
| | instrumental, as an example of their more dark ancient songs. Song |
| | starts out with strong drums punching right into and dieing off at |
| | an Oud playing a dark melody whose inspiration could just as well |
| | be attributed to either classic Black Metal or Middle Eastern music |
| | interchangeably. To those unaccustomed to the sound of an Oud, the |
| | picking may sound out of tune but still fitting to the music. |
| | Keyboard mimics downtuned violins in the background then it has |
| | itÆs solo which introduces the drums to the mix once more. Oud |
| | takes center stage again but with the drums and keyboards as more |
| | prominent partners in the background. All through-out the guitar is |
| | playing ambient fuzz, adding on to the harmony of the Oud and |
| | everything else going on. The drums are fast paced and a mix |
| | between Tabla beats and basic metal beats. The exchange between the |
| | Oud and keyboards continues for a few more cycles allowing the |
| | melody to progress into a more Middle Eastern sound before the |
| | breakdown comes in. In comes the bass, playing the persisting |
| | rhythm of this song and setting a doom element to the song. The |
| | guitar comes in more strongly now, playing the part of the Oud with |
| | another guitar that comes in doing some crazy classic Heavy Metal |
| | soloing overlaying it all. Just crazy and unexpected and it works |
| | so well because while it sounds like classical Heavy Metal, itÆs |
| | the guitarist mimicing an Oud player (this also appears in other |
| | songs on the album, something that I will get to later). Oud comes |
| | in this time as the prominent player but the guitars and bass donÆt |
| | die off this time. Instead they merely take an audible backseat for |
| | a bit. This exchange between the guitars and the Oud persists until |
| | the end of the song which is culminated by a very short classic |
| | guitar riff. |
| | |
| | The progression of the album is very interesting with three |
| | instrumentals, each setting the mood and style for the songs that |
| | follow after them. The first track of the album, ôArousal At |
| | Nebuchadnezzar Fortressö, is purely a dark and ancient sounding |
| | Middle Eastern instrumental with no guitars or western drums. Only |
| | keyboards, Oud and Tabla are present. Songs that follow noticeably |
| | take influence from that mood with more interplay with the Middle |
| | Eastern instruments. The songs after that slowly progress into a |
| | more brutal and fast paced atmosphere using purely Western |
| | instruments to play out the Middle Eastern melodies. By the time |
| | you reach the fifth track, ôEndma Tuqsaf Al RuÆosö (meaning ôWhen |
| | the Heads are Mincedö), the only clear Middle Eastern element that |
| | is present to the unaccustomed ear are the keyboards and the short |
| | solo plus backseat role that the Oud plays later in the song. That |
| | just sets the mood up perfectly for the second instrumental, |
| | ôMaÆdabt Al Audhamaö whose end heralds the crazy guitar soloing |
| | that is to be found in all the songs following it. By the time we |
| | get to ôWataÆa Bakhtanasarö (meaning ôNebuchadnezzar Marchö), we |
| | are immersed in familiar doomy and dark Black Metal territory. |
| | Songs have a noticeable Middle Eastern slant in a way that is |
| | surely more authentic in sound than Nile and more reminiscent of |
| | older Melechesh. The albumÆs closing instrumental, ôAjal |
| | Babelö(meaning ôDemise of Babylonö) sums up the pure evil that |
| | emanated from the latter portion of the album perfectly. Middle |
| | Eastern influence strongly intact without the use of any of their |
| | traditional instruments. |
| | |
| | Since their lyrics are all in Arabic, I feel it necessary to |
| | transcribe the lyrical themes they set for each album here. These |
| | are brief summaries, but overall their inspirations are brutal |
| | warlike tactics: |
| | |
| | AtbaÆa AlNamrood EP (2008): the main theme is about King NimrodÆs |
| | Era, the Nimrod legion and despotic age. |
| | Asfhl Al-ThaÆar LP (2009): the main theme was vengeance. It was |
| | about warriors who got betrayed by their own people, how a strong |
| | desire for vengeance was fueling their souls as they made it at the |
| | end. Sub-themes were added like ôGog & Majoojöand Al-Jahiliyah |
| | (ôDays of Ignorance,ö Islamic concept referring to the condition |
| | Arabs found themselves in pre-Islamic Arabia). |
| | Estorat Taghoot LP (2010): this release was initially built on |
| | BabylonÆs ancient era. The main focus is ôNebuchadnezzarö who |
| | reigned in Babylon at 650 BC. The storyline also includes events of |
| | bloodshed that involved the ancient Arabs at that time. |
| | |
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| - Hi5's/HAiLS - |
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| / _ | | | | __\_ | |
| /___|___|_____| | |/________| 86D - BERC - REGRET - BRiGAND |
| ---------------| | mK^dS!--- DeBT - DiVINE STYLERS! |
| | | | DeVOiD - NBFLAC |
| | |______________| LORD SATAN |
| | |
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| - LAYOUT & DESiGN - | TEAM CATARACT: PHYSICAL MEDIA ONLY.
|__. -BY- .__|
| 56ONk!# oF | DON'T BE FUCKING CHEAP. BUY WHAT YOU LIKE.
|divine stylers!|
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