(Note: This is my ninth entry in my series on Middle Eastern black metal. Previous posts have centered on Iran, Israel, Lebanon, Syria, Jordan, Oman, the UAE and Saudi Arabia.)
According to Wikipedia, “Bahrain is sometimes described as “Middle East lite” because it combines modern infrastructure with an Arabian Gulf identity and, unlike other countries in the region, its prosperity is not solely a reflection of the size of its oil wealth, but is also related to the creation of an indigenous middle class. This unique socioeconomic development in the Persian Gulf has meant that Bahrain is generally more liberal than its neighbours. While Islam is the main religion, Bahrainis have been known for their tolerance, and Churches, Hindu temples, Sikh Gurdwara and a Jewish synagogue can be found alongside mosques.”
Like the country itself, Bahrain’s black metal community is tiny, but its few members keep busy with numerous projects. For the purposes of this entry, I’ll focus on the main players of the “scene,” rather than specific bands.
MARDUS
The importance of Mardus to black metal in Bahrain cannot be overstated as he helped form the country’s first black metal band, GRAVEDOM, in 2003. The band did little more than record a five-song demo entitled Necropolis before officially disbanding in 2007, but it remains an impressive statement, especially considering it was the first of its kind in its country. The songs nod heavily to GOATWHORE, DARKTHRONE and BATHRORY, blending blistering blast tempos with slower, chugging rhythms and memorable, almost melodic, riffing. Four of the five songs can be heard on Gravedom’s MySpace page.
In 2004, Mardus began a side-project called NARJAHANAM, which draws heavily on his Arabic heritage for inspiration. In fact, he and co-member BUSAC formed the band “because the ideas and concepts of the songs and lyrical theme did not fit with Gravedom since the lyrics are only in Arabic.” The duo, who are still active as a band, “metalize” Arabic scales and melodies into something loud, heavy and wholly Bahraini. Four songs from their 2007 CD, Undama Tath’hur Al Shams Mn Al Gharb, can be heard on the band’s MySpace page. I highly recommend “Yowm Al Maw’oud” and “Rayat Al Mowt,” though all four songs are excellent and the entire album is great.
Mardus then teamed up with VOIDHANGER and Busac to form SMOULDERING IN FORGOTTEN in 2005. SIF’s brand of extreme metal is a pure brutal black/death onslaught. Here, the Goatwhore influence really shines through. The songs are highly technical, but the unforgiving, punishing delivery keeps them off the path of pretension. Seven powerful, previously unreleased songs are posted on their MySpace page.
LEARZA
Now, here is that rare artist who gets me really excited about black metal and its possibilities. He’s incredibly prolific, having recorded at least 16 releases as four different projects over the past four years. He’s also extremely innovative and open-minded when it comes to the possibilities of his music.
Learza (pictured above) began DHUL-QARNAYN in 2006 when his previous project, QEYAMAH, fell apart. On his first EP, 2008’s Shirk, he carefully combined depressive black metal elements with LUSTMORD-style dark ambient soundscapes, as on the eight-minute “Suqoot Allah,” which is almost more of a sound collage than a song.
Earlier this year, Dhul-Qarnayn released Det Bur Ulv, a four-song tribute to BURZUM. Out of the three Burzum covers on the EP, two are from the later ambient electronic folk albums that VARG VIKERNES recorded in prison – something most people associated with black metal would never attempt, much less do well. Then came the EP Beyond Human Malice, which opens with “From Chaos,” five minutes of dark noise driven by a pummeling drum pattern. Though the other three songs are evil black metal, Learza uses dark ambient noise to great effect within the songs.
The Dhul-Qarnayn releases mentioned above, plus a few splits and compilations, can be download from this blog, which hosts them with Learza’s consent.
In 2008, Learza joined forces with ERIDU, a Kuwaiti, to form an entirely new band called KUSOOF. Their first EP, Vile, is nightmarish, atmospheric and extremely creepy black metal. Learza has it posted here.
Around the same time, Learza began QAFAS, which he describes as “funeral doom metal.” It’s actually quite pretty piano-based neo-classical music. The title track to the first Qafas EP, “Fajr,” is exceptionally beautiful, recalling the more lively moments of ERIK SATIE. Learza posted the “Fajr” EP here.
And, if he didn’t already have enough going on, Learza, began a collaboration with two guys in Mexico, TAO and ANDROID, called 00PART, which is an electronic/noise/sound collage/black metal project. It’s kind of like a cross between THROBBING GRISTLE, NEGATIVLAND, EQUIMANTHORN and ABRUPTUM, although that doesn’t completely describe the music. Their first release, the 30-minute 73N0CH717L4N 4NN0 2050, is available here and Sokushinbutsu, the Japanese-themed 16-minute sophomore release, is available here. (Both were uploaded and made available by the band.)
Bahrain. Who knew?
