In the mist dark figures move and twist
Was this all for real or some kind of hell
666 the number of the beast
Hell and fire was spawned to be released
– Iron Maiden, ‘The Number of the Beast’
I have started reading this book titled ‘The Happiness of Persuit’ by Chris Guillebeau. I have come up with a goal that made me get out of bed and excitedly start writing these words to you, my meagre set of readers. I plan to interview 195 bands from all countries in the world, that play metal. I’m not a pure blooded metal head, but this is what I’ve decided to do.
I’ve got one interview soon from Israel, one from Lebanon and I probably have one from the Netherlans. I’m starting work on one from Estonia and now I need more.
Think ‘World Metal’, like Sam Dunn presented it in the documentary, think global and world wide.
From the day Geezer Butler saw a looming dark figure at the end of his bed to the day we live in now, metal has been a genuine counter culture that is also a global tribe. We could shake hands anywhere in the world, when we share this music.
A long time ago I did an interview with the band Melechesh. The group was originally from Israel, moved to Amsterdam in the Netherlands later for its political freedom, a bit like the golden age of philosophy. The band deals thematically with Assyrian and Armenian mythology. Add to that some Mizrahi rock and there you go: unique metal. This is the interview I did with Ashmedi, main man of the band, in 2010.
Could you kindly tell us who you are and where you come from (musicwise as well as lifewise)?
I come from Jerusalem my family are Armenian/Assyrian. Musically I come from the rock and metal background but I listen to any and every type of music as long as it is well done . Life wise I am a cosmopolitan who lived around the world and now settled in this nice , tidy and quiet corner.
You’ve moved the band from Israel to Amsterdam/France, how was that decision made and what were the reasons you had to move?
Well the reasons were several, many demographical and socio political reaons. Also we wanted to progress our music. The member who was in France is now doing his PHD in USA so he flies often here to writing sessions and rehearsals. Coming to Amsterdam was a coincidence actually , I was on my way to USA when my x bassplayer who was living here said Amsterdam got English language Universities, I thought ok its closer to Jerusalem .
Theres a mix of nationalities in the band, how does this influence your writing and creating process?
Well and it does not change our writing process. Though we got to learn that you should not make music at any cost like we used to believe in and was the way we work, but rather pay attention to personal convenience which comes first here. In Jerusalem there are many different people from all over the word , same as with Los Angeles where I lived as well so always managed well in cosmopolitan places.
Is there a political element to your music, and if so what is it? What were the comments when you released the ‘As Jerusalem Burns… Al’Intisar’?
NO , the middle east is much more than politics, it is a place were civilizations were born. We focus on this beyond the mundane but tragic drama . Politics are merely the art of lying and rationalizing human deaths. We don’t play that game, and we say our politics are simple we count the dead and we think everyone deserves to live in dignity. Can you imagine an entire region with many countries billions of people thousands of years of continuous civilizations is categorized by one cliché. We are critical and know what is going on there but we do not drag the mystical and spiritual artistic creation known as Melechesh in this.
When As Jerusalem Burns …Al Intisiar (by the way the title is meant metaphorically, as we love our home town ) was released well hell broke loose J we survived it. There many critical of us but in the end we make music with spiritual and mystical context so we did not hurt anyone. ( maybe the righteous can learn for this ). But such things made us appreciate making music and we are grateful to where we have reached today
Could you tell us what Mesopotamian Metal is, what it envelops and what it is you tell about? Obviously for us it’s a very strange and unknown world.
The style of music is already popular in the metal underground and there are several young bands adapting to it which is really cool. But for the readers Roarezine of let me elaborate more on this. When I started Melechesh the philosophy behind the music was to create not re-create. So we tried inventing the Middle eastern sound of Black/thrash metal. Which encompass hard rock and heavy metal as well but with an ethnic twist when it comes to guitar riffs and picking as well as at time, Middle eastern drum patterns. Lyrically we deal with Mesopotamian mythology near eastern mysticism .
Musically who are your influences, metalwise as well as traditional music wise?
I grew up on rock music at home with time I was drown into heavy metal and punk and got into various types of bands. As a musicians we are shaped by diverse music intentionally or unintentionally. From Metal music , I like the classics black sabbath, led zeppelin, rainbow also Mercyful fate some Metallica , Slayer , Bathory it is hard you know ! traditional musicians I am very much into Persian Indian cross over like Ghazal, Indian ragas , sufi music .
Your new album, The Epigenesis, is almost out. Can you tell us about the process and the record?
The album took a long time to write , almost three times to record. Its is a long album with diverse moods , from a 3 minute song to a 12 minute song. We decided to break the mold and we flew to Istanbul to record the album. Many here were surprised but the outcome spoke for itself . Istanbul was a unique experience and very inspiring one. The city is very inspiring for musicians, it is great for night life and culture, and very Metal. So many metal bars out there its crazy.
Everything worked out perfectly it was almost uncanny like how come every step every decision was fitting in like a piece of puzzle , it was quite mystical . It was also very practical to be there, as people were helpful no 9-5 mentality we did put in 16 hrs a day . Also the little things you know you want to order a meal at 3 AM while still recording , its possible. You can even order you wine and whisky at those hours. The little things helped keep the vibe positive. The weather was good too.
How has your work been received in Europe this far?
Well previous works always well received, we got fans across the globe, positive record sales and the fact most labels offered us a record deal was very humbling and a good sign. As for the new album the general press media is good. Topped various critics lists, several cover stories I cant ask for more and we are grateful for this.
Did starting a black metal band in Israel spawn a lot of followers? Are there other metal bands from the Middle-East that you would recommend?
You need to be able to differentiate the various parts of Israel. The fact that it was in Jerusalem was the issue. AT first people wanted black metal bands from Scandinavia , if the band was from there the fans show the horse teeth with unconditional smiles and frown on bands that had to fight to make music. But this changed. A lot of hard work development of a type of music eventually paid off. We had followers there, but our larger fan base is in USA and Europe. There are several talented bands in the middle east they work hard some even were jailed for doing the music they are passionate about. For sheer brutality check out Keaton, for Melodic doom check out Bilocate. There is a cool rock band called Khalas and so on.
Are there any bands that you would compare yourself to?
Blof (a rather cliché Dutch rockband, GS)
What influence does living in Israel have on your music and on your life and views?
Some people fight to have a decent life and when they get it they appreciate every second. Some have it all served on a silver platter and deep inside they are very unhappy. This is one thing I learned. I also learned how racist humans are. I personally believe in one race. Human race. And thankfully I am very color blind.
Where do you see Melechesh going in the future?
I don’t know really, just challenge ourselves and make credible music.
Are there anything you’d like to tell our readers, that they should know about your band?
Doe het normal is a bad thing for music and art but a good thing for accounting.
What Album should we start with?
The Epigenisis for sure not because it is the new one but because it represent us now and it has several moods.
If Melechesh would be some kind of food, what food would it be?
A healthy salad which has flavor ! and considered as soul and brain food.
Blaakyum has been around for a long time and has been instrumental in keeping the metal scene in Lebanon alive. Lebanon you say? Yes, Blaakyum plays a mixture of thrash metal and various elements from other styles and hails from the country near Syria, Israel and all those places where you think no one has even heard of metal. They proved me wrong.
Now for me the country was as unknown as this band, so logically I checked their music and wrote them a message. It turns out that Lebanon is, considering our general view in the west, a pretty liberal country on some fronts. Still, Blaakyum is not a band that enjoys the same liberties and possibilities as bands from over here and they have to face very different hurdles on their path.
They have been around longer than most bands, and it took a lot of effort from guys like Bassem Deaibess to keep this band and also the whole scene together. Anyways, enough introduction, best to hear the story from the horse’s mouth.
You guys are, as it stands, the oldest, active metal band from Lebanon. How did you guys get started on playing metal music and how did you get in touch with the style? Also, was it hard to find like-minded souls to form a band?
Bassem Deaibess: Well, If I wanted to answer that, it would take me probably around 20 pages. To make it as short as possible, I started learning guitar when I was around 15, and that lead me to look for guitar oriented music which lead me to Rock, Hard Rock and Metal music. Back in the 90s it was not hard at all to find that music since it used to be played on our Radios and we had Rock Shows on TVs, the major Metal bands were all over our radios and TVs such as Metallica, Megadeth, Iron Maiden, Judas Priest, Sepultura, Morbid Angel, you name it.
When I got introduced to this music mainly thanks to my cousins, it was love at first hearing. As a typical dream of a beginner guitarist I wanted to form a band, so I started looking for members, and surprisingly it took less effort than I expected. Although Metal was available and accepted it was never mainstream, so I won’t say it was hard to find like-minded people or more precisely like-music-tasted people, but when we would discover someone who listened to metal it was as if you have just discovered a gold mine… We would in most cases become instantly friends… From the time I set my mind of forming a band towards the end of 1994 untill Blaakyum was formed in summer 1995 it was a relatively short period of time. Sadly since 1995 untill today the line-up changes have been endless, so I cannot answer the question on behalf of the past members.
Rany Battikh: Back in the 1980s/early 90s, Metal was pretty big in Lebanon spawning a couple of popular dedicated radio shows. My older brothers recorded selected songs on cassette tapes off the radio for bands like Metallica, Judas Priest, Black Sabbath, Dio, Slayer, Iron Maiden etc. I would put those tapes on and listen to them all day long. I remember once my brother brought a video tape of a Judas Priest concert home and he made multiple copies of it so we won’t damage it by over watching it.
When I picked up the bass, Metal was an obvious first choice for me, before I got into funk, jazz and classical music later on (through my college studies).
Jad Feitrouni: My father was a hard rock fan, so he always put on Deep Purple, Rainbow … while driving us to school. He always insisted that we (my sister and I) play an instrument, so we had piano lessons at an early age. I kept listening to hard rock and rock bands till I met Rany (Blaakyum’s Bassist) at university. Rany was a huge Power Metal fan at that time and started giving me CDs for Rhapsody, Stratovarius, Gamma Ray, Manowar, Helloween (to name a few)… he tried to give me thrash CDs but I didn’t like the style at that time. Few years later (when my ears matured) I gave thrash a try and I have been a huge fan ever since.
Rabih Deaibess: My brother (lead vocals) was sick enough to put some Sepultura on my headphones when I was 6… When I grew up I started listening to Symphony X (Divine wings of tragedy). I was 9 years old, the only reason why I did was because I heard my brother saying to my other brother (Blaakyum’s ex-bassist) that this is too complicated, that he will not understand anything of it. Somehow it angered me and I wanted to understand that music. So I started to become fond of that style and love the sound of the guitar and drums. When I was 11 I started playing the guitar, but the song I learned to play to was ‘Hey God’, by Bon Jovi.
I have to ask, how was it to play the first Lebanese rock festival? What was that like for the crowd, the bands, the atmosphere…?
Bassem Deaibess: The first concert Blaakyum performed at was in 1996 at the Lebanese University, which was the first Metal concert to be organised after the civil war. It was interesting to see so many metalheads, and back then we had even media coverage. The first Major Rock festival was organised in 1997 in place in Beirut called “Beirut Hall” the festival held around 13 bands and it was dubbed simply Rock Concert!! It was thrilling to go on stage and see around 2500 people waiting to hear you, we were so young and amateuristic back then, and although I felt we did a horrible job as a band, the crowd was so supportive. We probably were among the least experienced bands, the other bands were seriously amazing. I never realised how high the standards of the Metal Scene were back then and the atmosphere was really extremely friendly, like a brotherhood. The next year Rock Concert II happened, but Blaakyum did not participate. We kept playing in one of the most famous 90s (up till 2005) Rock and Metal venues that hosted regular concerts on a weekly basis, it was called Peak Concert Hall. It had a capacity of 700 people and it was almost always full, up till 2001 where Blaakyum performed in the first edition of Rock Nation, a yearly Rock/Metal festival (though mainly Metal) that kept going till 2008. The scene during all these years had its ups and downs, but considering a country of 4 million inhabitants, the scene is extremely impressive here even in its down phase.
What bands were the ones that got you guys into metal?
Bassem Deaibess: For me personally it was Guns’N’Roses at first who got me into the whole Rock/Metal genre, followed by AC/DC. Then came Metallica’s ‘Black Album’ and Iron Maiden’s ‘Fear of the Dark’, from there on the snowball rolled.
Rany Battikh: Prior to Metallica’s self-titled album’s release (in Lebanon), ‘Master of Puppets’ was a game changer for me, definitely my Metal bible for a very long time alongside Black Sabbath’s Live Evil.
Jad Feitrouni: The bands that got me into metal where Manowar, Rhapsody (Now named Rhapsody of Fire), Gamma Ray, Hammerfall, Helloween, and many others…
Rabih Deaibess: bands that got me into metal: Symphony X, Dream Theatre, Rhapsody (now named Rhapsody of Fire), Evergey, Pantera, Testemant, Nightwish, Alter Bridge (those are part my inspiration as well)
Where do you get your inspiration from for your lyrics and music?
Bassem Deaibess: I must admit that the main source of my inspiration lately whether for writing lyrics or music, is my anger. Especially with what is going on lately in the region and the threat of Islamic fanaticism that is threatening my country, the incredible political and social corruption, and the intellectual struggle and the cultural terrorism we face on a daily basis because of religious and political dominance. There is always a social, political or socio-political message behind each song even those who seem to be more related to literature and arts (I am a big fan of J.R.R. Tolkien and fantasy novels as well as Edgar Alan Poe and thriller/detective novels e.g. Dan Brown) Musically I must say that the main influence from the Metal side is Thrash Metal, mainly Testament, Overkill, Sodom, Kreator, Onslaught, Metallica and Pantera. But I am also very fond of Classical music especially Beethoven, Bach, Tchaikovsky and RimskyKorsakov. And traditional Lebanese folk like Lady Fairuz, Lady Sabah, Wadih El Safi, Marcel Khalife and TonyHanna, and Oriental Arabic folk such as MuwashahatAndalusia and RoudoudHalabia. I am so much in love with Celitc music.
As for Jad and Rany other than the bands they named that are a major part of their influences, I must say the Blaakyum Rhythm section is heavily influenced by Funk and funk fusion.
Rabih Deaibess: I was a Progressive and Power Metal fan for a long time, then I got a bit off track to bands like Creed and Nickelback, but then I heard 3 tracks that changed my life: Black Sabbath’s ‘Cross of Thorns’, Dio’s ‘Hide In The Rainbow’ and Pantera’s ‘I’m Broken’ and I went more into thrash stuff like Metallica, Megadeath, Testeman, Kreator and Exodus.
Recently you played two major festivals (as if you need reminding, right?). What was it like for you as a band to get to this international stage?
Bassem Deaibess: Well, it is a proof that even in the most unlikely circumstances and against all odds, if you work hard, you are good enough and you want something so bad, you can get it. Let us be honest, to have a tour on your own, without any label or management backing you up, would seem a normal thing from someone in Europe, it is not really that hard. But for us in the Middle East, it is equivalent to an eternity of hard labour!
First the dehumanizing factor of getting Visas (So many times we were about to cancel some dates because we weren’t sure we will get the Visas), the way we are treated in some embassies is almost inhuman, you feel you are an inferior race begging the White West supremacy for a chance to go to their countries. Applying for a Visa is such a stressful and anxious experience and you are totally helpless. Then comes the transportation, I mean again in Europe, you can simply rent a small van, get in there and drive to whatever country or town you want. Here we have to travel on our own; the economical difference is huge even with the crisis in Europe, what is considered affordable there cost us a fortune here, then the hassle to run from an airport to a bus station with all our equipment and luggage on our back, then from one train terminal to the other and try to do it without missing the train and without breaking any of the equipment… So by the time you reach the venue you are almost dead *laughs*. But then the moment you go on stage, and see the people actually digging our music and headbanging, it always pays off.
Rabih Deaibess: First time we played will be a memory I’ll never forget and tell my kids about if I ever have any. It made Rany, Jad and me become like brothers as we laughed and played together. That bond made our sound tighter as well.
Jad Feitrouni: Playing on the same stage as Testament, Overkill, Onslaught, Iced earth, Annihilator… was a dream comes true especially with Bassem, Rabih and Rany by my side. I listen to these bands every day and to be with them in the same room was simply amazing.
Rany Battikh: It feels great to reach that “international stage” as this was our goal since day one. We went through a lot of hassle to get there for sure, but hard work does pay off at some point and sacrifices trans-morphed into achievements.
What is the most common response that you get when people figure out Blaakyum is from Lebanon?
Bassem Deaibess: OWE DEATH AND DISPARE *laughs hard* actually we got mixed reaction, some do not even know where Lebanon is, some gets really intrigued, many ask us if Metal is accepted in Islam, which use to puzzle us since we are not an Islamic country, nor any of the current members come from an Islamic background. There is a lot of stereotyping that we face, which we actually understand. We would be surprised when we meet some people who actually have a very good idea about our country, but still they would be amazed that there is Metal there.
Jad Feitrouni: The most common response that we get when figuring out that Blaakyum is from Lebanon is a long silence. This is where we explain where Lebanon actually is on the map *laughs* But when people actually know where Lebanon is they get surprised to know that metal reached that little country in the Middle East.
Rani Battikh: People get pleasantly surprised when we reveal our country of origin. Some ask about the desert (we don’t have any!), some ask about religion (I was never tempted to discuss my Christianity in that case) and some just show how enthusiastic they are about eastern women!
Rabih Deaibess: We get the funniest reactions sometimes, people get more exited and curious about us once they know we are from Lebanon, some asks us about desert or camels, personally I have never seen one! Some get shocked that we even know what metal music is or that we drink beer!
I read in an interview that metal has been around in Lebanon since the seventies, but it struggled for acceptance. Most people, as you probably know, would not even think there’s heavy metal being played in Lebanon right now. Can you tell a bit about how metal arrived in Lebanon and how it developed further?
Bassem Deaibess: Ever since Lebanon was created in 1920 in it was open towards the west. Even in many cases half the Lebanese refused to identify to the Arabic world they are in. Western Culture was rarely viewed as an alien culture, but as part of the Lebanese culture, thus we always were a true mix of both oriental and western cultures. Whatever was mainstream in USA and Europe, was mainstream in Lebanon. So the underground scene in the west was established in Lebanon almost at the same time, even the counter-culture and youth movements such as the beat movement, and the hippies were here as well, so Metal came naturally. When Black Sabbath released their first album at the beginning of the 70s it was all over the place in Lebanon, Lebanese clubs and pubs were full of bands playing Black Sabbath, Led Zeppelin,Yes and Deep Purple… even the quarrels between the Disco fans and the Hard Rock fans were as common here as in the west. When the punk movements in the mid-70s took over the streets of London it did so in the streets of Beirut… of course there were some cultural clashes but they were really kept at minimal. So during the 80s and 90s Metal was all over the radios and the TV rock shows… Till this day Metal has a strong presence in Lebanon, although at times it was under attack from either religious or governmental institutions. Although a big part of society is ignorant about what Metal is and not always accept it, it is fair to say that metal is as alive in Lebanon as in any other western country.
In Sam Dunn’s documentary ‘World Metal’ (if you haven’t seen it, I really recommend it) he shows that metal bands in the middle-east face a lot of adversity from their respective societies. In some countries it’s virtually impossible to be a metal fan on your own terms. How is the situation in Lebanon and how is it compared to surrounding countries?
In Lebanon Metal was very well established on the contrary of most other Middle Eastern countries, It wasn’t till the mid-90s, precisely 1996 that some Christian religious institutions started the “Hard Rock/Metal panic” after a tragic incident of a teenage suicide. This is also very similar to what happened in the west few years earlier, especially in USA. Because religious institutions in Lebanon had so much power, they were able to spread a kind of mass panic. Then the government took part and created a black list of bands and albums and banned some shows, so we had some trouble with the authorities.
All this calmed down by 1999. We even played in few mainstream festivals, but in 2002 a fiercer “witch hunt” was organized both by the church and the government and later the Islamic religious institutions joined forces. This kept going on until 2005, with the assassination of the business man Rafik al Harriri, a prominent political figure and former prime minister, the country went into an open revolution against the Syrian occupation of Lebanon and the Syrian presence was driven off, in the aftermath of this political uprising the country plunged into a long political crisis that is still present, and during all this they forgot about Metal. Every now and then few voices in the media or the Church are expressing some concerns of Satanism and drug abuse in Metal, but after the information age kicked in, these voices are quickly silenced.
The Lebanese Metal scene still has its ups and downs, mainly related to the economic and political situation, but I guess this is what gives the Lebanese bands who write original music the edge that puts them apart from the main western Metal scenes. Needless to say with all this, Lebanon is one of the very few Arab countries that has a freedom margin and were Metal is not utterly threatened, this mix of minimal oppression and margin of freedom makes Lebanese Metal able to develop and creates its own unique identity.
In an interview you describe the Lebanese metal scene and also discuss its better days in the past. Can you describe to an outsider how the Lebanese scene looks like? What kind of venues do you play shows at and is it easy to buy new records and such?
Bassem Deaibess: As I said, during the 70s, 80s and during the heat of the civil war, the clubs were full of bands playing and performing Rock, Hard Rock and Metal music. After the Civil war things were going well, many local town festivals like “Al Hamra festival” and “Féte de la Music” and others always had local rock or metal bands on the bill. Up till 1999 there were few “illegal” radio stations that were exclusively Rock and Metal, to name few we had Blue FM, Generation X FM, UFO, and Rock FM. We would look for big venues to organize our multiple band concerts and Rock fests, and we had a regular underground venue called Peak Concert Hall. Around the end of the old century we had few clubs that hosted Rock bands regularly such as “Mon General”, “The Irish Pub” and “Rio Grande” bar.
At the beginning of the new millennium, a new venue was available in a town called Kaslik part of the city of Jounieh, it was called Mad Wheels, where many underground and mostly low budget and poor produced concerts would take place. This was alongside Peak Concert Hall, which remained active till 2005. Also many summer festivals would take place, including the famous Rock Nation (from 2001 till 2008), featuring big stages and good production. At the start of the new millennium, Hard Rock Café Beirut opened and we also had many metal-friendly pubs. One was called “Purple Haze”, which was established by Rockers For Rockers. Sadly, it was short lived but started a tendency other bars and clubs followed. Next was “Kalinka Pub”, which hosted rock and metal bands from 2002 up to its closing date in 2005. Until 2010, the “Nova Club” was the hub of the scene, together with “Cherry’s Pub”, which was active from 2006 until 2009. It was a phenomenon in the scene and the beating heart in its short existence. A pub was started in the Hamra Street, named “Pavillion”, which was a new centre for the underground. For a while we had a big venue where bands could play, named Tantra (capacity: 1.500 people). It took over from Peak Concert Hall, when it closed down in 2004. That was the time we had the Rock and Metal organization to be established called Rock Ring.
Rock Ring took the Metal concerts and festivals to a new level, and organised a high profile events during the first decade of the new millennium, including the participation of Lebanon in the GBOB (Global Battle Of the Bands) twice as well as bringing the all-stars band called Hail to Lebanon twice. During those years few mainstream figures helped the scene by bringing some international acts to Lebanon, like Mr. Jyad El Murr (a rocker himself) who is the co-owner of a TV station and the owner of a Radio station in Lebanon. He was the one to organize the biggest Rock and Metal Festival in Lebanon known as Beirut Rock Festival, and brought bands to Lebanon such as: Anathema, To Die For, Catatonia, Moonspell and others. In 2009 individual efforts were made to bring Lake Of Tears, and the concert was a success. Blaakyum opened for them as well.
But things started deteriorating after 2010, Tantra the main Metal venue at the time, was demolished, Cherry’s Pub has closed down, many pubs such as Nova cut down on accepting Metal bands, but we still have few Metal friendly venues were we throw a gig every now and then such as Yukunkun Music Club, and Quadrangle Pub.
As for the stores, before 1996 Metal was available almost all around the country, but the place where we could find ANY metal new release and old albums was in Disco Rama in the suburbs of Beirut… That changed dramatically as Disco Rama was raided by the security forces and no longer offers Metal music. It has become extremely hard to get Metal albums except for the few very well- known Metal bands, and basically the only place I can think of is Virgin MegaStore, ironically it is not allowed to have the Label Metal, so the Metal albums are all there under the Label, Alternative/Pop-Rock. Mostly we get our music online these days.
We have a few instrument stores that sell good quality instruments, especially when it comes to Guitars and Drums and Amps and everything related to Metal. Those places are named Instruments Garage, and Mozart Chahin. We have few rehearsal studios, but there are no facilities for Metal Musicians in Lebanon, being one is simply choosing to live a hard and unrewarding life. Lately only one such facility exist and it is called LYC (Lebanese Youth Centre), but it is only accessible through subscription and is not open to the public.
I understand Lebanon has a great deal of religions that are officially recognized. I was wondering about the following: the devil is a common theme in traditional metal and the church as something to oppose, how do you guys deal with these themes?
Bassem Deaibess: Blaakyum actually do have Christian members, we all come from Christian backgrounds, although most of us are Atheists but we do have one member who is actually a Christian Believer. Some Lebanese bands tackled the traditional themes of devilry and very, very few were openly oppose the church. In our culture we learned to respect all forms of religions even if we oppose them. Blaakyum music can be described as anti-conformism; many of our song messages invite the listener to be free from dogmatic brainwashing. Personally I am against insulting religion, I find it really a cowardly act. I am anti-religious myself, but there is a difference between criticizing and pointing out the dangers of religion and being outright disrespectful. It is in our view everyone’s right to be religious as much as it is our right to criticize and expose religious bigotry.
What can you tell us about the Massacore incident? Is it exemplary for things you face as a band?
The Massacore incident was this: A live show took place in Lebanon and reporters made it out to be a satanic mass. This was mocked by the metal scene for all the obvious reasons. Then another reporter made things look even worse, claiming it was rituals in an old monastery, drug taking and the presence of kids of public figures etcetera. When Bassem Deaibess called in to the tv-program, it became more evident that it was an attempt to smear the metal scene with all sorts of accusations, which left a taint on the scene for times to come.
Bassem Deaibess: The Massacore incident came as a shock as we thought that the Lebanese society has moved forward and away from such claims. We have been relatively able to organise and play concerts without any such incident since 2009 when the General Secretary of the Catholic Schools issued a paper to the student’s parents warning them of the dangers of Metal and how it is a place for drug abuse and Satanism… That incident did not spread out of control as the organizer of the event is a very powerful public figure and has huge political support. But then in 2012 when the Massacore incident happened, we knew that things have not changed much, we did not face a similar situation as in 2009 after that incident though, but we know for a fact that whenever the Church or the uneducated population have a chance they will bring this subject up. They do it simply because they ignore what the hell is actually going on and they get shocked when they see us moshing, or when they hear someone growl. To be honest, this is nothing like the our “Dark Ages” between 1996 and 2005, that period was by far much more threatening to us as Metal fans, and I am sure that period is over… Or at least I hope so.
You live in the middle of a turbulent region of the world. Do you feel this has become part of your inspiration and your lyrical material?
Bassem Deaibess: Definitely, the situation that we are living in always is an inspiration, what better place to create Metal music than living in such a shit-hole, with political corruption, religious ignorance and war threats all around us. In fact, many of our songs are about such things, like the song ‘Cease Fire’ that talks about the 1996 and 2006 Israeli aggression against Lebanon. The same goes for the newly emerged threat of the so called Islamic State, which is today the biggest threat we face especially as non-Muslims. Thish as brought so much anger to our hearts, and that anger will always translate into Metal Music. The album we are currently trying to record has most of its tracks inspired by the events that followed Massacore concert, it is filled with anger but as well state how the Lebanese Metal Scene revolted against the faulty accusations… We already have some material prepared as well for the third album which in most part is inspired by the anger, fear and resentment we feel because of the threat of the so called “Islamic State” which is more known as IS.
So, what would you really like to tell about Blaakyum, that I didnt ask yet?
Bassem Deaibess: Blaakyum is but one example of the Lebanese Metal Scene perseverance an struggle against discrimination and cultural terrorism, be it religious or political. There are also many bands such as Kimaera, Inner Guilt, Kaoteon, Nocturna, and many more that are also here, and we will remain here. The Lebanese metal bands and fans are authentic, Metal was born in Birmingham from the voices of a neglected youth, that were under the stress of nuclear threat and industrial dehumanization, and Metal in Lebanon just like the majority of the Middle Eastern Metal scene. It is the product of the suffering of youth and generations who have been living for so long under horrible circumstances. In truth we do represent the authentic feelings of the Middle Eastern and Lebanese youth in all its forms and different points of view and when I say ‘we’ I mean the Lebanese Metal Scene and not the band.
As for Blaakyum, we have been around for a long time, and we are not going anywhere. We will remain a thorn in the side of bigotry and ignorance.
Where can people check out your music?
Well we are all over social media, on Facebook, twitter, myspace, Instagram… from there people can check out what is going on with the band, sometimes we release some footage or some music, as well our album is sold at various selling points in Lebanon and few points in Europe, but for anyone who wants to buy our album they can do it online through iTunes, Amazon MP3, 7Digital, Spotify and many online outlets.