Article by Corey M. Apparently, our staff ate too many tacos this weekend.2 Comments
More mass murder of the unworthy.7 Comments
Tags: 2016, al-namrood, Black Metal, Centinex, Darkestrah, deathcore, diamond head, Forteresse, gothenburg metal, hard rock, metalcore, novelty metal, pseudo-progressive, quebec, Québécois, random, sadistic metal reviews, saudi arabia, sludge, stinking shit, Sweden, War Metal
Al-Namrood is so kvlt that they can’t even turn down their projects’ master levels a few decibels. While simply nudging everything down a bit so it doesn’t clip as much might not be the best way to go about it, the fact that this completely insane brickwalling that’s apparently been dogging the fellows throughout their career goes yet unresolved on Diaji Al Joor does not exactly fill me with hope. As previously mentioned the last time a DMU writer took notice, Al-Namrood’s big gimmick is that they’re from Saudi Arabia and are theoretically risking more to get their content out. Remove their background and the absolute garbage mixing job, and you’re left with an okay but generally underwhelming folk metal album with some black metal influences.
On a scale of Orphaned Land to Melechesh, Al-Namrood leans closer to the latter for keeping a greater amount of metal technique in their formula. For whatever reason, they end up consistently midpaced in all instrumentation and otherwise lean towards a consistent sound. From a musicological perspective, their consistent use of Arabic maqams (a seven tone system of tuning and intonation) makes for a great selling point in the Western world and, amongst other things, leads to some dissonant/microtonal droning sections that I barely hear in metal; I furthermore believe that more ambitious and proficient musicians could do great things with such. On Diaji Al Joor, this potential is squandered and turned into tedious filler that adds little of value. This is best described as more of a vocal-driven album, anyways – the vocalist (who goes by the pseudonym of “Humbaba”) barks and rattles his way through these tracks and seems to have some idea of how to vary up his inflection and pitch to make himself more interesting and prominent. I’m cynical enough to call him a case of wasted potential given the lack of direction that manifests below him.
I’d probably go as far as to say this is, in spite of its clear flaws, ever so slightly better than Melechesh’s recent effort (Enki) was, since it’s a bit less openly streamlined and digs a hint deeper into its respective reservoir of musical ideas. That judgement may, however, be too subjective for your tastes. Even if it isn’t, the fact that Diaji Al Joor fails to rise beyond a basic level of competence makes it an irrelevant comparison.6 Comments
What is a novelty band? A band chosen for anything other than its music. Common topics include bands with: women, female singers, minorities, retarded people, gay people, transsexuals, unusual instruments, drug use, JPOP girls and children. Record companies love novelty bands because the media fawns all over them, then the hipsters do, and it sells hype quickly and bypasses the normal metal fans, who are critical of quality instead of being driven by novelty.
The latest novelty comes to us from Vice Magazine who want us to read about Al-Namrood from Saudi Arabia. While it is true that this band may be risking their lives to perform, it seems like they face roughly the same amount of struggle that bands behind the Iron Curtain did back in the 1980s, which means they can circumnavigate authorities to exist, record an album, shoot a video, and be feautured in American media with their faces in the video and not get killed.
As with all novelty stories, this will be short-lived. There have been many tales of heavy metal bands from the Middle East and after the media blitz, these bands have gone nowhere. The quality test is what matters. If you cannot pass the quality test, you are SOL. Al-Namrood will be the latest to fail the quality test because their output is only nominally black metal, not aesthetically distinctive and indeed a bit awkward, and finally, the songwriting is not that memorable at least by metal standards.
“Bat Al Tha ar Nar Muheja” consists of fast melodic riffing in the style of Satyricon Nemesis Divina with a Middle Eastern influence on the choices of scales used. The vocals, on the other hand, sound like something from more recent Absurd albums. The song seems put together in the style favored by Behemoth, where riffs relate marginally to each other and the main point is to follow the vocals and rhythms to a big break and a melodic interlude, after which point the band returns to blasting fast single-picked riffs. While it is not terrible, it is also not exceptional.10 Comments