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Arallu is truly a unique name within the underground, having a very unconventional sound that is both exciting and unpredictable with a lengthy history already. I was captivated by the Middle-Eastern sound, by the aggressive metal beats and all mixed in with Satanic themes. This was enough to get me interested in reviewing the latest Arallu album which is their seventh full-length album. This album will be officially out on September 22nd, 2019 released by Satanah Records fromRussia and Exhumed Records from Ecuador. Arallu was formed in Israel in 1997, yes Israel. Such a contrast here as far as religion is concerned. The name Arallu refers to the underworld kingdom ruled by the goddess Ereshkigal and god Nergal where the dead are judged in Mesopotamian mythology.




Arallu is a mix of avant-garde black metal, close to death metal and Middle Eastern folk metal. It’s like adding country music to black metal but with Middle Eastern instruments like the darbuka for percussion and the Turkish baglama saz. These ancient instruments were not related to anything Satanic but most likely to ancient Egyptian cultures. Listening to ‘’En Olam’’ I appreciated not only the Middle Eastern instruments but the fact that I can clearly understand the vocals. The song "Devil's Child" is almost like speed metal and another crazy thin is that you can at times dance to it as the melody’s style is close to ska (aka is a music genre that originated in Jamaica in the late 1950s)! On the song ‘’Unholy Stone’’ the guitars sound like Mayhem but never too harsh and keeping a nice melody with the help of these odd instruments.






Presumably Satanic black metal is not the cup of tea of much of Israel but Arallu has their own signature on the black metal scene. I cannot emphasize enough just how mesmerizing this sound is. It is an experience in and of itself that really draws the listener in. Arallu could practically tour the whole world and be welcome on any continent. Definitely a great album that I highly recommend.




Middle Eastern Black / Death Metal aus Israel kreuzte bisher noch nicht meinen Weg. Dies hat sich nun mit dem siebten Album “En Olam” ein für alle mal geändert. Das Quintett verbindet schwarz dämonisches mit orientalischen Klängen. Dieses klingt schon spannend genug und ist schon zu Beginn beim Opener “The Center Of The Unknown” eindrucksvoll zu vernehmen, gefolgt von “En Olam“, wo das erste mal weiblich stimmliche Klänge neben infernal bösartigen Drums und Vocals einzug halten, natürlich immer gepaart mit der schon vorher erwähnten musikalischen Zweisamkeit.


“Devils Child” prügelt sich durch die teuflische Kinderstube und verbindet immer wieder verschiedenste Elemente miteinander. Das Devils Child wird mir förmlich und nicht sprichwörtlich in die Ohren, sondern um die Ohren gehauen. Der Song ist okay, haut mich aber jetzt nicht vom Höllenthron. “Guard of She’ol” geht zu Beginn nach einem kurzen Ausschnitt aus der Unterwelt in straighten Rhythmus über, um dann die Geschwindigkeit zu erhöhen, zu verlangsamen und zum Schluss hin die Gitarren-Saiten zu schreddern.


“Vortex of Emotions” ist ein doomig epischer Trip durch andere Welten. Über die Hälfte der Zeit thronen die Instrumente, bevor das stimmlich mephistophele einsetzt und dem ganzen noch die entsprechend okkultistische Würze gibt. “Achrit Ha’yamim” ist ein kurzer traurig anmutender Track, der in hebräisch verfasst wurde. Zu Beginn spricht ein Herr (ich habe leider Ahnung, ob dieser eine Berühmtheit ist oder nicht oder einfach nur ein Bandmitglied).


“Prophets Path” bindet Darbuka und Saz in das Infernale mit ein, “Unholy Stone” spielt gleichmäßig mit melodiösen Riffs, um mir dann heftig links und rechts eine zu verpassen. “Trail by Slaves” kommt wuchtig und aufbäumend aus meinen Boxen, genauso wie “Spells“.


Fazit: der mittlere Osten gemischt mit dem musikalisch schwarzen klingt sehr interessant, aber ob eine Nachwirkung bleibt wird sich nach mehreren Durchläufen zeigen.





Of all the places that metal has found a point to grow from across the globe, one of the places that I find to be the most intriguing whenever I hear new material from it has to undoubtedly be the Middle East. From Lelahell to Azooma to Al-Namrood, there is plenty of talent to go around to make for one of the most interesting scenes on the planet in my opinion. Arallu is definitely one of the acts at the forefront of the Middle Eastern scene with their great mix of black and folk metal bringing their culture’s musical influence to metal in a great way, and it’s with their seventh effort they astound yet again.


Even if I wasn’t aware of the power behind Arallu, just the very sight of the cover art would be enough for my eyebrows to raise in intrigue because the idea of any metal with a Middle Eastern theme sounds incredibly interesting to me. Arallu had already mastered the sound that they’ve been going for by the time they released their last effort a few years ago that’s easily their best, and it’s with “En Olam” that they only continue that positive streak. With ten tracks of unadulterated power and flavorful musicianship taken to the maximum for this band, there isn’t a single moment of what Arallu has risen here that isn’t meant to devastate to an apocalyptic degree as they tear through subjects of cruel slavery to immense sorcery to an unnerving interlude track that is all but perfect for this unrelenting effort. It all comes together with such ease that it’s incredibly clear to see how Arallu have earned a name for themselves with the brilliant array of Middle Eastern instruments that make tactical appearances throughout their work that help make “En Olam” become a much more interesting album to listen to. Even without them, this would be a compelling record as Arallu definitely know their way around some vicious black metal that’s immensely gripping to listen to that no matter which angle you view it from, “En Olam” is a voracious record that demands to be heard.


There are many noticeable releases that we get with each and every year, and yet, somehow, Arallu always manages to impress and this year is no different with this being arguably their most potent offering to date even after getting better with each record. There isn’t a single piece of “En Olam” that isn’t utterly compelling and it’s only by the end of this fiery experience that you can see the glorious destruction that has befallen us.





En Olam, the Hebrew title of the forthcoming seventh album by the Jerusalem-based band Arallu, means “There Is No World”. As the band explain, “it describes the fear we all live and feel”, and in particular a fear born from the discovery “that we all live inside an illusion, and everything we know does not exist” but is instead “just an imagined picture”. “All that you thought protected you is just a dream and you’re actually hanging between the earth and sky… You realize that nothing ever existed and that there is nothing…”


The terrors of such a nihilistic revelation can be found within En Olam, but they seem to stand side by side with unearthly wonders. The music often seems to channel occult conjurations and the re-emergence of ancient mystical forces. Parting of the veil that passes for reality reveals not the void, but another world far different from what seems to surround us, in which unseen primeval powers still reign. The songs capture archetypes of violence and bloodshed, defiance of orthodoxy and devilish supremacy, but they also become spells.



The song we’re presenting today through a lyric video is a prime example of these manifold sensations. In its words, “Devil’s Child” tells a tale of satanic ritual and of the birth of a blasphemous messiah who brings the heat of the desert to the mortal world. In its music, it creates a marvel of exotic and electrifying sound, with morphing melodies that spawn images of vast dunes, of flesh-shredding sandstorms, and of desert djinns rising from ephemeral oases.


Immediately, a sorcerous lead guitar leads us into a fiery maelstrom, a storm of rapid-fire battering drums and flying riffs. The vocals are ferocious, rising from caustic snarls into a wild protracted scream. The melody darts and dances, and slows into slow, moody meditations, still mesmerizing but steeped in sorrowful gloom. Near the end, solitary notes ring out with a mystical allure before one last wild, dervish-like whirl of flickering guitar, maniacal drums, and acidic shrieks.




Arallu augment the elements of black and death metal in En Olam with the tones of ancient instruments, among them Saz, Oud, Kanoon, and Drabukka. On the final song “Spells” they draw upon the texts of Lovecraft’s Necronomicon. In the words of Satanath Records, which is co-releasing the album on September 22nd with Exhumed Records (Ecuador), “En Olam brings a Middle Eastern atmosphere for fans of Behemoth, Dissection, Mayhem, Emperor, Deicide“.


The attention-grabbing cover art of the album was created by Nir Doliner. It was recorded at Bardo Studio in Israel, and mastered and mixed by Dory Bar-Or (Eternal Gray). It will be released in both digipak and jewel-case CD editions, as well as on black vinyl.




Arallu is an Israeli black metal group known for their fusion of Middle Eastern musicalities with the aforementioned metal style. The band will be releasing their seventh full-length LP En Olam (אין עולם) on September 22nd via Satanath Records (Russia) and Exhumed Records (Ecuador). You can check out our reviews of their previous albums Six and Desert Battles 2018 as well as an interview with frontman Moti Daniel (aka Butchered).


We're excited to be exclusively premiering the fourth track off the upcoming album, "Guard of She'ol," which held back a bit on their typical Middle Eastern folk fusion and took a more modern Behemoth approach instead. The track demonstrates the act's sense of dynamic from the raw, rapid riff pace to the doom elements in the latter half. Check out the music video for the menacingly heavy song now and be sure to pre-order the new record here.


Arallu are dedicating this music video to Salem guitarist/bassist Michael Goldstein who just recently passed away.





Zvedá se bouře, písek létá vzduchem a je nesnesitelné vedro. Znáte ty okamžiky, které předcházejí hromům a bleskům? Příroda si s námi hraje jako s loutkami, podél cesty se odhalují bílé skelety koster. Nebe se zlobí, do uší mi totiž hraje nová deska black death metalových maniaků ARALLU z Izraele. Válka s peklem začíná, víra tvá tě zachrání a nebo zabije.


Deska mě svými motivy opravdu přenesla někam do míst mezi řeky Eufrat a Tygris. Dýchla na mě historie, bohatá kultura, budovy, které zažily tisíckrát slávu i utrpení. Procházím se pouští a poslouchám album "En Olam". Jsem najednou součástí něčeho velkého, čemu se říká muzika.




Tradiční death metal, black metalová temnota a umně vložené blízkovýchodní motivy. Jakoby ARALLU předčítali z pradávné Knihy mrtvých. Cítím v kostech chlad a na tváři teplý vítr. Mám v očích písek a marně zvedám hlavu k nebi. Rozhřešení nikdy nepřijde, zlá krev dělá další zlou krev. Každý musí začít u sebe, naslouchat a konečně používat zdravý rozum. Líbí se mi zvuk, jednotlivé nápady a nepřeberné množství emocí. Tahle kapela totiž hraje srdcem a je to znát z každého tónu. Umírám žízní, napojen vlastní nenávistí. Zahal svoji tvář a poklekni. "En Olam" je jako výlet bez konce do míst, kde se slunce dotýká země, kde se krása potkává s temnotou, hudebně je album velmi solidní, zajímavé a moc dobře se poslouchá. Podsvětí zase jednou otevřelo svoje brány a vyslalo bojovníky apokalypsy, aby nás zničili svoji muzikou. Vnímám, že brzy přijde další písečná bouře, modlím se, aby zazněla nová skladba. Black death metalová nahrávka, která vás sežehne plamenem!




Asphyx says:


The storm rises, the sand flies through the air, and the heat is unbearable. Do you know those moments that precede thunder and lightning? Nature plays with us like with puppets, white bones of skeletons are revealed along the road. Heaven is angry, because I am listening the new album of black death metal maniacs ARALLU from Israel. The war with hell begins, your faith will save you or kill you.


The motives from album really transferred me somewhere to the places between the rivers Euphrates and Tygris. I was breathtaking by history, rich culture, buildings that had experienced fame and suffering minimally thousand times. I walk through the desert and listen to the album "En Olam". I am immediately part of something bigger, something what we called music.




Traditional death metal, black metal darkness and artfully embedded Middle Eastern motifs. Seem as ARALLU read from the ancient Book of the Dead. I feel cold in my bones and I have a warm wind on my face. I have sand in my eyes and vainly raise my head to the sky. The absolution will never come, bad blood makes another bad blood. Everyone must start with themselves, listen and finally use common sense. I like sound, individual ideas and a wealth of emotions. This band plays with the heart and it is obvious from every tone. I'm dying of thirst, connected with my own hatred. Cover your face and kneel. "En Olam" is like a trip without end to places where the sun touches the ground, where beauty meets darkness, musically the album is very indifferent, interesting and is nice to listen it. Once again, the underworld opened its gates and sent apocalypse warriors to destroy us with their music. I feel that another sandstorm will soon arrive, I pray for a new song to be heard. Black death metal record that will burn you with flame!





Israel's  Arallu  have  returned  with  a  new  recording  which  continues  the  middle  eastern  style  of  black  metal  from  previous  releases  and  this  is  a  review  of  their  2019  album  "Em  Olam"  which  will  be  released  in  September  as  a  joint  effort  between  Satanath  and  Exhumed  Records.


  Middle  eastern  style  folk  instruments  start  off  the  album  and  also  mixes  in  with  the  heavier  sections  of  the  music  at  times.  Vocals  are  mostly  black  metal  screams  while  the  music  also  mixes  in  elements  of  death  and  thrash  metal  and  when  the  music  speeds  up  a  great  amount  of  blast  beats  can  be  heard.


  When  tremolo  picking  is  utilized  it  also  gives  the  songs  more  of  a  raw  feeling  along  with  some  growls  also  being  added  into  some  parts  of  the  music.  Throughout  the  recording  you  can  also  hear  a  great  mixture  of  slow,  mid  paced  and  fast  parts  while  the  riffs  also  add  in  a  great  amount  of  melody.


  All  of  the  musical  instruments  have  a  very  powerful  sound  to  them  along  with  the  solos  and  leads  being  done  in  more  of  an  old  school  metal  style.  Female  vocals  can  also  be  heard  briefly  as  well  as  the  riffs  also  utilizing  a  decent  amount  of  melody,  spoken  word  parts  can  also  be  heard  briefly  on  a  few  tracks.


  As  the  album  progresses  a  brief  use  of  demonic  voices  can  also  be  heard  along  with  one  track  also  introducing  synths  onto  the  recording  as  well  as  a  middle  eastern  style  interlude  being  added  onto  the  album  before  returning  back  to  a  heavier  direction  on  later  songs,  one  track also  adds  in  a  small  amount  of  middle  eastern  style  melodic  chanting  and  the  percussion's  also  gives  the music  more  of  a  tribal  feeling.  The  production  sounds  very  professional  while  the  lyrics  cover  Occultism,  Mesopotamian  and  Satanism  themes.


  In  my  opinion  this  is  another  great  sounding  recording  from  Arallu  and  if  you  are  a  fan  of t his  band,  you  should  check  out  this  album. 




En Olam is from the Hebrew language and translated it`s There Are No World. En Olam is the 7th studio album of the black metal band Arallu from Jerusalem. Arallu states on Facebook that they plays Mesopotamian black / thrash metal. Following their previous 6 studio albums: The War On The Wailing Wall (1999), Satanic War In Jerusalem (2001), The Demon From The Ancient World (2005), Desert Battles (2009), Geniewar (2015) and the most successful in all the activity years of the band Six (2017). Arallu played shows in Israel with acts such as Behemoth, Mayhem, Satyricon, Enslaved, Marduk, Tribulation, and more. The band did several European tours and metal festivals in Germany, Switzerland, Hungary, Austria, Turkey and performed Czech Death Metal Fest with Napalm Death, Dødheimsgard and Avulsed.


Arallu were interviewed by Sam Dunn for Global Metal Film 2008 and Olivier Richard for Un Monde De Metal film 2015. The demons from Israel have unleashed again a massive new album. En Olam recorded at Bardo Studio in Israel, mastered and mixed by Dory Bar-Or (Eternal Gray) who is responsible to the sound of Geniewar, Six and Desert Battles 2018 remastered albums of the band. Cover artwork by Nir Doliner. Band photo by Michael Solomonovitch. Band logo by Avi Harari. Layout by Satanath. All music and lyrics written, composed, played and recorded by Arallu 2018-2019. Spells texts by Necronomicon book (H.P. Lovecraft), arrange by Arallu. En Olam brings a Middle Eastern atmosphere for fans of Behemoth, Dissection, Mayhem, Emperor, Deicide. The ttile track Arallu,




En Olam album features full set of Arabic Middle Eastern instruments, such as: Saz, Oud, Kanoon, Drabukka, toms and many other traditional instruments used during the recording, which makes the music an ensemble of war metal anthems. Although Arallu is not a political band, the band’s mastermind and founder Moti Butchered Daniel lives in Jerusalem and brings in to the band music the spirit of the holy places and ancient history where bloodshed is a usual thing to witness. Arallu describes the situation through the lyrics, yet glorify the ones who never surrendered to terror and had the courage to resist fundamentalism.


En Olam describes the fear we all live and feel. A situation in which you find out that we all live inside an illusion, and everything we know does not exist. The world we see, and our emotions, are just imagined picture that don’t exist. The discovery of the truth seemingly makes you lose your grip and shake your whole being. All that you thought protected you is just a dream and you’re actually hanging between the earth and sky without the ability to see anything. Your eyes are open and your body is awake but there is just white blank nothing. You realize that nothing ever existed and that there is nothing,



Always a reason to get excited, Arallu return with an absolute corker of a release. 10 tracks of crushing brutality that has all their familiar elements but also has a strong developed edge showcasing progression since we last reviewed their music.


Erupting with The Center of the Unknown, after so many years you’d think Arallu might be at an age where they’re beginning to mellow. That’s so not the case with this opening track and the twisted cackle that crops up is gleefully evil.


Really utilising some of their more Middle Eastern sounds, mixing wonderfully well with the crunchy metal; the title track is a highlight. Before Devil’s Child absolutely flattens with some proper old school blackened death noise.


Mind you, you’ve not heard anything until you’ve heard the thrashing lunacy of Guard of She’ol. A personal favourite of the album as it is just so intense. Although the heavy as balls riffing of Prophet’s Path and savagery of Unholy Stone do the job too.


Of course, if you’re looking for more thought-provoking stuff, Arullu have it too. The cold and calculating Vortex of Emotions is the stuff nightmares are made of. Also Trail By Slaves has a wonderful switch up that expands and contorts impressively.


The icing on the cake though is Spells. An enormous finale that keeps things tight and short but still delivers some huge knockout punches. The Middle-Eastern instruments sounding utterly huge alongside a killer drum beat and riffs weighted in gold.


I can’t say it’s Arallu’s best work as I’ve not heard everything they’ve done but going off what I have, this is a level above.





Middle Eastern Black / Death Metal aus Israel kreuzte bisher noch nicht meinen Weg. Dies hat sich nun mit dem siebten Album “En Olam” ein für alle mal geändert. Das Quintett verbindet schwarz dämonisches mit orientalischen Klängen. Dieses klingt schon spannend genug und ist schon zu Beginn beim Opener “The Center Of The Unknown” eindrucksvoll zu vernehmen, gefolgt von “En Olam“, wo das erste mal weiblich stimmliche Klänge neben infernal bösartigen Drums und Vocals einzug halten, natürlich immer gepaart mit der schon vorher erwähnten musikalischen Zweisamkeit.


“Devils Child” prügelt sich durch die teuflische Kinderstube und verbindet immer wieder verschiedenste Elemente miteinander. Das Devils Child wird mir förmlich und nicht sprichwörtlich in die Ohren, sondern um die Ohren gehauen. Der Song ist okay, haut mich aber jetzt nicht vom Höllenthron. “Guard of She’ol” geht zu Beginn nach einem kurzen Ausschnitt aus der Unterwelt in straighten Rhythmus über, um dann die Geschwindigkeit zu erhöhen, zu verlangsamen und zum Schluss hin die Gitarren-Saiten zu schreddern.


“Vortex of Emotions” ist ein doomig epischer Trip durch andere Welten. Über die Hälfte der Zeit thronen die Instrumente, bevor das stimmlich mephistophele einsetzt und dem ganzen noch die entsprechend okkultistische Würze gibt. “Achrit Ha’yamim” ist ein kurzer traurig anmutender Track, der in hebräisch verfasst wurde. Zu Beginn spricht ein Herr (ich habe leider Ahnung, ob dieser eine Berühmtheit ist oder nicht oder einfach nur ein Bandmitglied).


“Prophets Path” bindet Darbuka und Saz in das Infernale mit ein, “Unholy Stone” spielt gleichmäßig mit melodiösen Riffs, um mir dann heftig links und rechts eine zu verpassen. “Trail by Slaves” kommt wuchtig und aufbäumend aus meinen Boxen, genauso wie “Spells“.


Fazit: der mittlere Osten gemischt mit dem musikalisch schwarzen klingt sehr interessant, aber ob eine Nachwirkung bleibt wird sich nach mehreren Durchläufen zeigen.




Arallu are black metal band from Israel and this is their seventh album.


I always really like Arallu’s work, (check out Six, Geniewar, and Desert Battles – Descending to the Sands), so it’s exciting to see a new album emerge.


If you’re new to Arallu then you need to know that they are not your standard black metal band. Not only do they mix in touches of death and thrash metal into their music, but they also incorporate Middle Eastern themes, melodies, and instruments. This results in a very striking and individual endeavour, one which has seen the band go from strength to strength with every release so far.


There’s a depth of texture and substance to this music that may not be overly apparent from the above description, however. Arallu play brutally aggressive music very well, but they also develop atmosphere and build layers very well too. Sometimes, they even combine these different facets, creating something else entirely. The songs are also more catchy and memorable than you might think, and have more hooks than is standard for something like this. Not that there are many entities like Arallu out there, I suppose. Arallu have carved their own niche, and they utterly dominate it.


The band’s songwriting continues to improve, successfully incorporating the above elements into moreish and infectious songs. There are many great examples spread out across the album, but two highlights for me are Devil’s Child and Trial by Slaves; both are particularly enjoyable exemplars of how to mix brutality and atmosphere to great effect.


I’ve said before that it’s very impressive how Arallu always seem to keep getting better with every release. I say this again now because En Olam is just as good as previous career highlight Six, and, despite the fact that I’ve listened to Six a lot more, is probably even better.


Essential listening for any extreme metal fan.





Illustrons le retour aux activités chez Yargla avec une signature de chez Satanath Records en collaboration avec Exhumed Records, j'ai nommé le combo Israelien Arallu déjà fort d'une certaine expérience puisqu'il s'agit ici de leur septième album.




Le ton principal se pose dans un black metal oriental aux passages thrash mais surtout enrichi de percussions et d'instruments folkloriques.


On rencontre pas mal de variations selon les titres, voguant au gré de passage assez violents relayés par des ambiances beaucoup plus posées et épiques.




Si l'on évoque l'énergie brutale, on évoquera d'emblée le morceau d'ouverture « The Center Of The Unknown » et de sa bestialité qui poursuit le démarrage oriental. Un thrash black bien speed et violent où la batterie déroule pour enchaîner sur un blast démoniaque qui se mêlent à un déchaînement rythmique de la part des percussions également. L'entrée en matière s'opère avec fougue et sans pitié et ce morceau doit être vraiment terrible sur les planches.On saluera également ce passage plus mid tempo et lourd où les percus suivent le flot des mélodies orientales alors que la partie metal derrière alourdit l'ensemble.




Pour rester dans le patator, on évoquera également « Guard Of She » et son départ ultra dynamique, lourd et violent.


Le rythme est galopant, les vocaux bien harsh, puis les mélodies orientales collent parfaitement aux blasts et roulements cinglants


Le chant varie sur des vocaux parlés, déclamés sur un passage épique au tempo lent. Le rythme reste ensuite lent mais s'alourdit au gré des riffs saccadés et des accompagnements orientaux.


On termine sur un passage assez doom à l ancienne bien ficelé.




Arallu sait également jouer la carte plus nuancée avec « Vortex of Emotion ». Ici nous trouvons un doom/black très lent et progressif menant sur montée rageuse. L'ambiance est atmosphérique et lourde se terminant sur un fade.




Quelques rythmiques guerrières savent se faire apprécier notamment sur le démarrage d' « Unholy Stone » le final d' « En Olam » ou encore « Spells »


Pour « Unholy Stone », blasts et melodies suivent à un debut guerrier pour donner suite à un passage folklorique où la batterie tabasse bien la caisse claire et assomme.


La mélodie est répétitive mais catchy. On appréciera aussi ce final aux choeurs orientaux.


On retrouvera également ces choeurs sur « En Olam » et ses parties de blasts et riffs liés, cette rythmique orientale pour un ensemble mid tempo. Le côté folklorique est très en avant sur celle ci.


S'en suit une accélération rythmique aux blasts,puis riffs rapides pour terminer sur rythme martial et folklore.


« Spells » propose des parties bien décalées rythmiquement et son ambiance s'avère également assez belliqueuse.




On saura apprécier pleinement aussi un morceau comme « Prophet's Path » à l'intro toujours aussi orientale. Les riffs sont tranchants et les mélodies entêtantes.


Un passage encore plus énergique thrash/black à la Deströyer 666 vient tout défourailler puis des ponts plus lourds enchaînent.




« Devil's Child » débute sur une intro orientale.


On ne pourra qu' accrocher à ce coté Meleschech dans la rythmique et le chant puis


ce pont, down tempo assez épique avant de partir en blast et riffs ultra rapides.


On reprend une tranche de passage lourd avec la double qui déroule, un break plein de légèreté interfère avant de rattaquer sur le passage à la Meleschesch presque dansant.




Cet opus d' Arallu se voit hisser comme un grand moment de black metal oriental qui saura ravir les amateurs de combos du genre comme Meleschech ou encore Orphaned Land pour les instants plus posés.




Screen of review.





Antes de iniciarmos este review, devo mencionar que há alguns dias recebi um novo contato para parceria e mais uma vez me senti privilegiado, afinal, outro label situado na Europa estava procurando a Rock Vibrations....

E foi assim que a "Satanath Records" (natural da Rússia) entrou para o nosso "time", e claro, nos dando oportunidade para divulgarmos muitas bandas de seu casting.


Para inciarmos, escolhi uma banda bem peculiar e de ótima qualidade... aliás, alguns lugares do mundo as vezes nos surpreendem por fazerem parte de alguma vertente do metal, e neste caso, se você for um novo metalhead provavelmente irá estranhar, mas sim, existem inúmeros projetos pelo oriente médio.


Os músicos israelitas praticam desde o fim dos anos 90 um som extremo de muita qualidade (mais especificamente do black/death metal com influências mesopotâmicas e várias nuances de thrash metal).

Formada por Butchered (bass/guitar/vocals), Gal Pixel (guitars and backing vocals), Ofek O (guitars), Richard (drums/percussions) e Eylon B. (strings), entregam ao ouvinte uma verdadeira fusão de melodias, tendo certa originalidade de criação.


Seu novo álbum intitulado "En Olam" teve lançamento via Exhumed Records & Satanath Records no dia 22/9/2019 e trás a nós ouvintes uma produção impecável, além de composições bem estruturadas, sendo um dos melhores registros extremos que ouvi em 2019.


É nítida a destreza e comportamento profissional dos músicos, sendo cada canção muito bem construída, com suas características únicas e momentos realmente prazerosos dentro da vertente que fazem.

Os riffs são um dos pontos fortes aqui, um verdadeiro "guia" para os momentos pesados em meio aos climas orientais que surgem em todos os lados com a mixagem muito bem feita, e os ótimos vocais que permeiam de forma única.



Acredito que este registro é o ponto alto da banda, e se você ainda não conhece algo da cena ligada à região que eles moram, este é um ótimo ponto de partida!


Um álbum único e que merece um grande posto...

Aprecie sem moderação!





Watch the blistering new video from Middle Eastern extreme metallers Arallu!


Israeli blackened death metallers Arallu drop new single The Center Of The Unknown from their latest album En Olam!


Playing alongside the likes of Behemoth, Mayhem, Satyricon, Enslaved and Marduk in their home country of Isreal, Arallu have been slowly but surely making a name for themselves in the twenty years since their debut studio offering back in 1999.


With their previous album 2017's Six, the band saw a peak in their success this far, and it's about time. Their unique sound incorporates traditional Arabic Middle Eastern instruments such as the saz (or bağlama), oud, kanoon (or qanun) and darbukka (or Egyptian goblet drum), into thunderous blackened death metal.


Incorporating native instruments and folk sounds has a long tradition within black metal, since the early days of Bathory and continued with the likes of Primordial, Moonsorrow and Windir. With the scene having been established in the west and with many bands still claiming distinctly European ancestry, it's usual to hear the influence of Celtic and Nordic music. Yet their is a vibrant and long-established black metal folk scene further east too – most notably headed up by fellow Israelites, the Assyrian/Aramaic blasphemers Melechesh – and it's been picking up steam across the globe, with Arallu's very Eastern take on the genre a welcomed addition to the cultural kaleidoscope of extreme metal subgenres.


The band's most recent release, En Olam (Hebrew for "There Is No World") describes, through lyrics, the fear we all live and feel – a fear that is particularly prevalent in mastermind and founder Moti "Butchered" Daniel's home of Jerusalem. Butchered channels the rich and ancient spiritual history of the city where bloodshed and violence remain a very constant and very real threat, through his impassioned lyrics that glorify those who never surrender to terror and resist the fundamentalism that is prevalent and questions the very fabric of our perceived reality.




Things have changed in the time that’s passed since I first encountered Arallu and their sextant offering, Six. I was so young and innocent in those faraway days of 2017, unsullied by the harsh realities of angry metal wordslingerdom… Fast forward to the significantly older/infinitely wiser modern day Muppet and the dream is over, rotting in an unmarked grave beneath the moldering corpses of Happy Metal Guy and so many fidget spinners. I now recognize AMG‘s Law ov Diminishing Recordings as a cold and cruelly ironic constant, and subsequently I slowly shuffled up to Six‘s successor, the septimal En Olam, with extreme arthritis and trepidation. By the time it was all over, I sighed wearily and shuffled even more gingerly back to my sleeping perch—for such was the extent of my physical capabilities in the wake of the ass beating that En Olam had just given me.


When last Arallu tore through this great Hall of ours, the youngling Muppet was particularly impressed by the band’s evenhanded interspersal of Middle Eastern melodies into their meat n’ taters blackened death. A light dusting of desert sand was sprinkled over everything on Six, particularly in the percussion department, yet nothing ever reached the gimmicky, contrived levels of Nile, Amon Amarth or other themed bullshit1, and ‘Less is More’ won again. En Olam finds the Israelis doubling down on the desert-y decor – and sounding just as honest and naturally lethal as ever, perhaps even more so. Tracks such as “Devil’s Child” or “Spells” could only have ever come from arid sands, but, more importantly, they could only ever come from Arallu. 22 years and 7 full-lengths into their career, Arallu have transcended niche-dom and cultivated a sound of their own, and En Olam is a strong testament to the band’s abilities, circa now.




While the Eastern atmosphere is a key component of the quintet’s killer craft, there’s really only one thing you need to need to know about En Olam: here be fuckin riffs. As captivated as I was by the wild notion of Israeli black metal2 when I covered Six, present-day Arallu are first and foremost a death metal band. A death metal band with strong and glorious ebony leanings, sure, but the array of riffs and raucous rhythms so tastefully and tastily arranged within these 10 tracks is blackened-death gold no matter how or where you spin it. The titular track is a terrifying, tush-tearing thing ov thundering tribal drums and righteous riff revelry, and “Devil’s Child” has almost certainly affected my spinal alignment forever: if this vulgar display of powerful riffs and utterly fucking hostile vocals doesn’t leave you far beyond driven to form a flash moshpit, you can walk on home, yo.


Beyond attaining a near perfect balance of atmosphere and to-the-point riffdom, the songs also feel much more focused here than on Six, typically averaging three to four minutes and made all the more powerful for their less-ness. Additionally, bassist/vocalist Butchered has really come into his own here on album 7: just as guitarists Gal Pixel and Omri Yagen have carved an inimitable home for the band into the metalverse, Butchered’s performance on Spells solidifies his role as the screaming, unhinged hero that we need and Arallu deserve. Between his serrated growls and contemptuous shrieks, the dude doesn’t merely sound wrathful and violent this time around: he sounds like he is wrath, like he is violence. There’s a visceral, blood-thirsty quality to his contributions that reeks of unsettling authenticity, the kind that reminds you why so many people assume that all metalheads are violent sociopaths.


I have nothing bad to say about En Olam. Six was great and I had no faith whatsoever that its follow up could possibly hold a camel to it,3 yet this is a superior album in every way. The songs get in, kick your ass, and get out. They sound very much like the work of a band who knows who they are and what they want to do. En Olam has its own identity, standing out against both a backdrop of by-the-numbers blackened-death bands and the band’s own badass discography. Hearing this level of progress and improved performance in the wake of something as badass as Six was a ridiculously welcome surprise, indeed, and you’re either gonna love it or be dead to me.




Что такое культурный шок на отдельно взятом компакт диске? Ну это когда вначале - знойные звуки восточного инструмента — жгучий песок, пальмы, оазис с миражами. Тут же наскоро пробивает металл-забой и совершенно зверский ультра-роу-трэш-вокал. А там уже далее и более - блэк-дэт. С некоторыми влияниями. Такие тезисы кого угодно выведут из состояния спячки. Да это группа израильская - ARALLU.

С 1997 года исполняют ребята Oriental Black/Death Metal. В оригинальном замесе. Я уже убедился в этом с самого начала компакта.

Музыканты собрались чуть ли не четверть века назад (!!!). И совершенно отчетливо знают, что делают. Записаны семь полноформатов и на каменных скрижалях занесены в дискографию бригады.

Только я задался вопросом, а что такое, собственно, Араллу, как метал-архивы дали короткую инфо, что согласно месопотамским мифам (ну, на самом деле, так и есть) так называется подземная империя под руководством богини Эрешкигаль. Кстати, там Нергал осуществляет реальный суд над мертвецами. Бог Нергал, а не то, что вы подумали.

Во многих случаях музыканты ARALLU с помощью ближневосточных инструментов, таких как: саз, уд, канун, дарбука и многие других выстраивают эпическое интро в трэке, а уж потом переходят к металлическому угару. НО нередки, на самом деле, случаи, что и внутри трэков появляются островки переднеазиатского фолка в виде вокалов, хоров и прочих фишек.

Само собой, нас интересует именно железное наполнение трэков ARALLU, и хорошо заметно, что за 20 с лишним лет ребята времени даром не теряли. Результатом их усилий стала дерзкая форма фолк-дэт-блэкового опыта, в котором восточная ритмика и мелодика сращены с металлоконструкциями. Бережно сохраняя традиционные влияния, ПЛЮС одновременно будучи причастны к современной экстремальной музыке.

Отдельно надо сказать о трэке 5 - под названием Vortex of Emotions. Это атмосферный дэт-дум — величественный, тягучий, как воды Евфрата, в некотором смысле - ритуальный, с неизменным терроризирующим вокалом Butchered. Здесь он еще и поет(!) свою партию. Это 6 минут «Вихря эмоций».

Надо, конечно, обратить ваше драгоценное внимание на форматы в котором издан этот альбом ARALLU, и это - Digipak, CD | Jewel Box, CD | Vinyl, LP. Соответственно - 500 limited copies | 300 limited copies | 150 limited copies, надеюсь, перевод здесь не нужен.

Это совместный релиз Satanath Records с эквадорской издающей компанией с характерным названием Exhumed Records. Где предусмотрен 12-страничный буклет, Pit-Art CD — напоминаю через время, что это изображения, нанесенные лазером на свободную часть рабочей стороны диска.

Диджипак еще включает в комплектацию стикер.






Un honor para mí poder hablar algo de la banda de culto israelita ARALLU, formados en 1997 y que poco a poco han ido mejorando su propuesta de una forma considerable a tenor de lo escuchado en este pepinazo que es En Olam, séptimo larga duración después de haber pasado una auténtica tribulación con cambios de sello. Por otro lado, sus inicios sin batería (eran programadas) los sumió en una suerte de calvario del que no salían (bueno, eso y que editaban con Raven, sello israelita que no sé que distribución tendría), y creo que superado esa dificultad, estamos ante un discazo de primerísimo nivel.


En régimen de coalición, Satanath y Exhumed Records se marcan una impecable edición en todos los aspectos. Desde el alucinante artwork de Nir Doliner (con el clásico logo de Avi Harari), al apabullante, compacto sonido de los Bardo Studio (Dory Bar). Si me permitís el inciso (no, no voy a cortar a nadie con un cuchillo), en algunos aspectos la producción me recuerda a las remasterizaciones de Septic Flesh y como más adelante veremos, también un poco la forma de abordar el Black metal de este tipo de bandas digamos.... mesopotámicas.


La formación queda establecida con Butchered (Genie King) al bajo/voces; Gal Pixel a las guitarras; Omri Yagen a las guitarras/coros, Assaf Kassimov a la batería y Eylon Bart al saz (baglama), darbuka y coros. Como dato curioso, en el corte "Spells" se usan textos del Necronomicón. En cuanto al sonido, pues un crudo y potente Black/death con incursiones aquí y allá en ambientos más Doom, con el exotismo propio de bandas como los primeros Orphaned Land o Melechesh, sobre todo estos últimos en la forma de tejer partes con retazos folkies aremeos y con imaginería asiria.


Temas cortos, directos pero intensos, con una base rítmica excelente y unos riffs de guitarra de los que a mí me gustan; calientes como el black de los griegos (Varathron o Rotting Christ) y toques de Death melódico (puntito sueco arriba, puntito sueco abajo).


El inicio de "The Center of the Unknown" es magnífico. Me recuerda a la etapa media de Rotting Christ cuando empezaron a acelerarse tras su periplo gótico... es decir, Theogonia y cosas así. Las voces guturales muy conseguidas y los cambios de ritmo fabulosos. Riffs de guitarra con regusto oriental pero gracias a los cielos asirios, sin entrar en el metal progresivo oriental que me pone de los nervios con sus inocuas melodías. Aquí estamos hablando de metal extremo, señoras y señores... bajada del tempo en un sinuoso interludio atmosférico fantástico donde empieza ya a resaltar ese magnífico instrumento que es el Saz y que me vuelve majara (el sonido es similar al Tamboura, así que podría equivocarme)... vuelve a entrar en la siguiente, homónima y corta en minutaje "En Olam" con regusto a Orphaned Land. Black Death en esencia pero melódico, con coros fantásticos para un disco que en los 90 habría reventado el género.


Sigue "Devil´s Child" con una base rítmica de órdago. Toques folk israelíes en el abordaje de la percusión mientras la voz de desgañita pero mostrando versatilidad, pero curiosamente cuando el tema se lanza a velocidades de crucero adquiere tintes suecos y cuando va al ralentí es Doom/Death... todo con una pasmosa facilidad. Es lo que tiene la globalización, no?. "Guard of She'ol" empieza gélida al estilo Satyricon, pero pronto hace acto de presencia un ritmo mesopotámico al más puro estilo Melechesh. Atentos al doble bombo que no deja títere con cabeza o a los detallitos de Pagan Metal aquí y allá.




El corte más largo es a la vez el más épico. Intro de teclados para "Vortex of Emotions" hasta que entra un acople de guitarra más sucio que una herida de guerra curada con agua de fosa séptica. La batería, un simple golpe marcial que se repite como un metrónomo... ARALLU desciende en un espiral ritmo Doom simple pero efectivo que sobre mitad de tema eclosiona hacia el Black atmosférico. "Achrit Ha'Yamim" empieza con recitado al más puro estilo Muazzin, toques de Tamboura y sonidos de tormenta, ejerciendo de pequeña pieza puente hacia Prophet's Path que si no suena a Mabool de Orphaned Land no me llamo John Smith. Me encanta esa forma bailable que adquiere la percusión mezclándose con maestría y sincronicidad con la guitarra.


Tramo final con el Black clásico noventero de "Unholy Stone" (con detalles acústicos incluídos y final oriental) y "Trial by Slaves" con uno de los mejores medios tiempos del álbum que a estas alturas y tras muchas escuchas me atrevo a decir que es Pagan a su manera.


El disco termina por todo lo alto con "Spells", temazo que casi me hace soltar una lágrima porque este tipo de discos que grababan bandas como Rotting Christ, Septic Flesh o los propios Orphaned Land (quizás Amorphis en otra onda), ya no se hacen... o se hacen y no interesan. No sé o no me acuerdo de cómo sonaban antes ARALLU pero "En Olam" es una obra de arte.






Arallu Explore an Atmospheric and Doom Laden Twist Away from Their Usual Black Metal for “Vortex Of Emotions” Music Video. Arallu is an Israeli black metal act known for their fusion of Middle Eastern musicalities and instrumentation with their extreme music. They have opened the gates of their homeland and shared the stage with Behemoth, Mayhem, Satyricon, Enslaved, Marduk, Tribulation, and more. Furthermore, the group gained attention while touring and hitting festivals in Europe as well as being included in Sam Dunn’s Global Metal documentary (check our review of the film here).


Last year, they put out their seventh studio album titled En Olam via the Russian label Satanath Records and Ecuadorian label Exhumed Records. We mentioned the record in our favorite albums of the year list, which you can view here. Now in 2020, we have a music video for the track “Vortex Of Emotions” from the aforementioned LP. The track takes a more atmospheric and doom metal approach rather than their usual black metal style.





The moon’s recognizable glare. The distant growl of a dark cloud heavy with storms. The sun’s dramatic ascent and the eventual funeral march of sunset. Israeli black/death battalion Arallu turn the spectacle of the sky’s daily routine into the backdrop of their new video for “Vortex of Emotions.” Whether it’s unforgiving desert and mountain peaks or thick swells of smoke, the video’s imagery captures the elemental and emotional heft of the track. Before the first stab of distortion bloodlets the song, Arallu have already beckoned a sense of melancholy with the incoming fog. While the song is a slower burn than most of the other songs on their recent En Olam album, “Vortex of Emotions” still embodies Arallu’s hybrid of melodic deathrash and sky-cursing black metal.


Now approaching 23 years as a project founded by vocalist/bassist/mastermind Butchered, Arallu’s unique blend of blistering extremity and regional influences results in some striking compositions on En Olum. The album’s atmosphere feels like a smoky battlefield despite an impressively polished production. Personal favorite “Devil’s Child” untangles a succession of razorwire riffs to emerge as a ridiculously catchy ripper. Traditional instruments propel “Prophet’s Path” before the rollicking “Unholy Stone” vanquishes the non-electric components to dust. Despite this video’s pensive approach and the effective crawling passage of “Trial By Slaves,” the album picks its opportunities to speed-blast as well. With over two decades of material to explore, if you haven’t heard Arallu it’s time to remedy that now.


En Olam was released in September 2019, but this video is a great reminder to check out the album, co-released by Satanath Records and Exhumed Records. Get ready to stare into the vortex of emotions conjured by Arallu’s new video by pressing play below.





Israel als Metal-Hochburg zu bezeichnen ist vielleicht doch noch etwas hoch gegriffen, aber Bands wie Melechesh haben sicherlich dazu beigetragen, so etwas wie eine Metal-Szene in diesem Land aufzubauen. Ähnlich lange aktiv sind auch Arallu, die seit 1997 ihre Musik auf bislang 7 Alben und ein paar kurzen Veröffentlichungen zum Besten geben konnten. Das jüngste Album der Diskographie ist das vor ein paar Monaten erschienene „En Olam„, dem ich mich heute widmen werde.


Nicht nur in ihrer Herkunft und dem Alter ähneln sich Melechesh und Arallu, auch musikalisch gibt es Parallelen, immerhin spielen beide Bands einen Mix aus Black und Death Metal mit mittelöstlichem Folk, der ordentlich Atmosphäre und Druck mit sich bringt. Dazu gesellen sich bei Arallu allerdings ein paar Anleihen von Bands wie Barathrum („Devil’s Child„) und natürlich viele eigene Ideen. Düster und kraftvoll ballert der Black/Death der Jungs drauf los und liefert beinharte Riffs, mal frost mal schwer, ordentlich pushende und wilde Drums, sowie einen kraftvollen Bass, der auch hier und da auf seine Kosten kommt. Immer wieder wird der wilde Reigen durch kurze Pausen unterbrochen, in denen es entweder etwas komplexer zu geht oder die spirituelle, okkulte Atmosphäre aufgebaut wird, bevor wieder schwer und kühl nach vorne geprescht wird. Immer wieder schwankt die Band dabei zwischen nordischer Kühle, drückender Schwere und östlicher Melancholie, die sich nicht zuletzt in den von Darbuka, Saz und Keyboard-unterstützten Parts voll entfalten kann. Auch werden die Folk-Elemente schön eingewoben und verschmelzen mit dem sehr auf Atmosphäre ausgelegten Schaffen der Band zu einer fesselnden Einheit. Auch gesanglich gibts etliches auf hohem Niveau zu bieten. Typischer Black/Death Krächzgesang dominiert das Bild und keift sich kraftvoll und finster durch das Klangbild, hier und da durch Hall verstärkt und verdichtet. Hinzu kommen allerdings religiös angehauchte Sprechgesänge und Samples, die dem Ganzen Gebräu einen noch okkulteren Anstrich geben und gleichzeitig die Heimatverbundenheit der Truppe stärker in den Vordergrund hebt…und sich dabei nahtlos ins Konzept einfügt. So füllen sich die fast 40 Minuten des Albums mit abwechslungsreichem, schwarzmetallischem aber sehr druckvollem Riffing, interessantem Songwriting mit vielen Einflüssen aus der lokalen Folklore und einer schweren, düsteren Atmosphäre.


Abwechslungsreiche Songs treffen auf Folklore des mittleren Ostens, dabei entsteht ein fetzendes, drückendes und spannendes Black/Death Metal-Album, das Fans des Genres sofort in ihr Herz schließen dürften. Nach über 20 Jahren im Geschäft haben die Jungs einfach ein Gespür für gute Songs und eine saubere aber nicht zu überbordende Produktion, die die Stärken der einzelnen Elemente gut hervorhebt. Allau’s „En Olam“ ist einfach ein ziemlich starkes Brett, dass auch nach einigen Hördurchläufen frisch und knackig klingt.





Das neue Video der israelischen Black-Metaller Arallu zeigt die Band gewohnt gnaden- und kompromisslos im Kampf gegen den Glauben.


Arallu haben sich nicht nur mit dem Albumtitel SATANIC WAR IN JERUSALEM von 2002 in unsere dunklen Herzen gespielt, sondern vor allem damit, dass sie seit 1997 die Fahne des Black Metal im ewig krisengeschüttelten Israel hochhalten – durch den Bombenhagel zum Proberaum schleichen müssen, ist auf jeden Fall mehr Black Metal, als der Band lieb sein konnte.


Das aktuelle Album EN OLAM ist bereits das siebte in den letzten 22 Jahren. ‘Unholy Stone’ ist das dritte Video dazu, das wir euch hier exklusiv präsentieren.




Že jste o ARALLU ještě neslyšeli ani popel??? Nedivím se, ale já slyšel, a je to už nějaký ten rok. A již tenkrát platili za ukrytý trumf black metalové scény, a rozhodně to nebylo jen a pouze jejich poměrně exotickým původem. ARALLU toho mají za sebou dost a dost, spojitost se dvěma absolutními pojmy blízkého východu, tj. MELECHESH a SALEM je zřejmá, Moti Daniel stojí za kapelou do současnosti, Nir Nakav (SALEM) se podílel na vzniku kultovního alba „Messenger To Jerusalem /Satanic War In Jerusalem“. Tenkrát jsem s nimi četl rozhovor, tuším ale nepamatuji přesně, asi ve Sparku. Točil se kolem izraelské metalové scény, místního prostředí a vztahů židovské populace s tou arabskou a neméně tak muslimskou. Od té doby mi tahle kapela utkvěla v paměti, a nemohu jinak, než se podělit o zážitek z poslední studiové nahrávky kapely, která mi učarovala již před více než patnácti lety.


„En Olam“ je album v mnoha ohledech jedinečná, nenapodobitelná záležitost. Skloubit black metalové výrazové prostředky s prvky středněvýchodními hudebními kořeny není jen tak, a pokud k tomu dojde, stále není vyhráno, aby tato symbióza byla životaschopná a funkční, je třeba nejen umět hrát, ale je třeba dát do hudby sakra velký kus sama sebe a své muzikantské srdce (což je naprosto univerzální princip napříč všemi žánry od Long Islandu kolem zemské koule po Havaj).


ARALLU jsou svéráz a originál, což je deviza k nezaplacení. Organicky propojili tradiční black metal s místními tradičními hudebními postupy velice nápaditým způsobem, kdy ani na moment nejsme svědky rozpolcenosti skladeb na dva hudební světy. „En Olam“ není, a to předesílám, žádný jakože umělecký black metal plný orchestrací a drahé produkce. ARALLU se pevně drží syrového a živelného projevu, té sžírající bestiality, kterou vychrlili kdysi nesmrtelní BATHORY v druhé půli osmdesátých let. Bestialita je jedním ze jmen tohoto alba, rozběsněná šelma, která je sice lačná po krvi, ovšem s mozkovnou s kapacitou velice nadprůměrně inteligentního masového vraha. „En Olam“ je v jádru přímočarý masakr, tento ale skrývá spoustu rafinovaných zákoutí, spoustu důmyslných kliček, které dají jasně na srozuměnou, že tohle není rádoby zlá kapela ani rádoby exotika, na které to všechno půjde prodat.


V tomto případě nebudu záměrně pitvat album skladbu po skladbě. „En Olam“, ač obsahuje devět zastavení na cestě do podsvětí plus jedno recitativní intermezzo, po okraj napěchovaných agresí, pod jejíž silou praskají řetězy, hroutí se domy a zoufalí se modlí za spásu své duše. ARALLU tuhle agresi zkrotili ve svůj prospěch a přetavili do silného hudebního zážitku, který sice není úplně pro každého, ale koho chytne za rozkrok, toho už nepustí. Skladby tvoří kompaktní sevřený celek, aniž by splývaly do jednoho zběsilého monolitu s nedostatkem opěrných bodů. Navzdory agresi a syrovosti každá skladba se stejně tak i bohatá na zajímavé momenty, které se vyplatí objevovat s každým poslechem, protože tenhle zážitek úplně zadarmo není, ale to úsilí se na každý pád mnohonásobně vrátí.









The Mesopotamian underworld ruled by Nergal and Ereshkigal brings forth Arallu. This five headed Israelian serpent spits venom out of its lair in Ma’ale Adumim. Furious Black/Death infused with swirling middle-eastern instrumentation and melodies giving “En Olam” a grimm, hostile yet graceful touch.


My favorite skullworm: “Unholy Stone” meticulously built up to a climax, full of grandeur and emotion. Every song on this wondrous album stands on its own creating an aggressive, opulent and intelligent piece of art. Respect and awe goes out to the drummer/percussionist, an eight armed mutant torturing his kit with demonic intensity. During “The Center of the Unknown” he uses high toned toms creating an eerie surround effect.


For the open-minded is there a lot to discover on this masterpiece. Give it all your attention, take some time to let this music sink in, it will rattle yer balls outta yer hotpants.




Every local scene has developed its unique sounds, like Norway’s Black Metal scene. Many countries have their own sounds and many Ethnic groups has their own instruments.


For Israel, this is no different.


One of the local bands in the Israeli scene which played for the past 20 years are ARALLU, which are an inalienable asset to the local Metal Scene.


Throughout the years, these guys developed their own unique sound – Crushing Black Metal tunes, backend up by Goblet drums (Darbukas) and a Baglama Player. This is which makes them sound so Middle Eastern and special. The album “En Olam” also opens with Middle Eastern sounds, that combines well with the powerful guitar playing, and evolves into a beautiful, yet extreme piece of art which contains ethnic sounds, powerful speeches and aggressive tunes.


En Olam stands in Hebrew for “No World” – it is the 7th Album of the band ARALLU, and it contains 10 tracks. The overall length of the album is 38 minutes, and it starts with the track “The Center of The Unknown” – The opening act of the album, and it opens up with a beautiful, Arabic-inspired woodwind playing which collides beautifully with the guitars and evolves into a skull crushing track. Another extra-special track is “Achrit Ha’yamim” (Hebrew – “the end of the days”) – featuring a preaching in Hebrew about the Apocalypse and beautiful Baglama playing. From speaking to the band, the preaching is about the end of days and how everyone must believe in God, taken from a real preaching found of the web.


In the aspects of inspiration of the band, from talking to the band members I found the inspirations for writing music is the local middle eastern tunes alongside SLAYER, VENOM, BATHORY, MAYHEM, EMPEROR etc. With these in mind, the band has its unique sound and motives in their music, which brings forth the Israelism in their music and the local musical influences into the front of their stage, resulting in a fresh, unique to ARALLU sounds and lyrics. From the days of the first albums (Like “Satanic War In Jerusalem”) They started inserting those motives, and they kept it for two whole decades.


Overly, I must confess – I have a hard time listening to full albums at once, and always must switch throughout the tracks – this album is a solid Masterpiece in my eyes, and it features everything I am looking in an album.




Eu sempre fui fascinado pela sonoridade criada por bandas da região do Oriente Médio por causa da sua mistura entre o metal extremo e uma sonoridade que trazia uma característica étnica e cultural próprias. O ARALLU é uma dessas bandas e o seu novo álbum “En Olam” é uma prova dessa qualidade e sonoridades tão ímpares. Lançado no final de setembro passado “En Olam” traz um ARALLU que mescla de forma fenomenal músicas totalmente brutais com momentos que criam a mais pura atmosfera dos velhos muros da antiga Mesopotâmia.


“The Center of the Unknown” abre com uma música tradicional e logo engata com uma pancadaria insana com excelentes riffs e bases. Música realmente poderosa que prepara o ouvinte para outra grande composição “En Olam” que deixa mais evidente as influências da música tradicional daquela região, mas ainda soando agressiva como deve ser. “Guard of She´Ol” é uma das faixas mais matadoras, pois traz uma crueza primitiva e uma sonoridade que te remete ao black/death de bandas como Ancient Rites em seu início.


“Vortex of Emotions” quebra o ritmo incessante e traz mais peso e dramaticidade ao som da banda. Outra grande música que usa pesado a música tradicional é a incrível “Prophet´s Path”. “Unholy Stone” e “Trial by Slaves” são mais duas pedradas. Incrível a qualidade das bases de guitarra e riffs desse novo trabalho.

Realmente é um disco sólido e com uma qualidade surpreendente. All hails ARALLU !