Tag Archives: UAE

Views from the Pit: Creative Chaos Vol. 2

What a night. Cynical Sounds has certainly outdone themselves once again with Creative Chaos Vol. 2, this time featuring local melodic death metal act Assault, UAE death metal tyrants Nervecell and the legendary tech-death masters Decapitated. And for the very first time ever, an extreme metal event at Zouk! As early as 5, crowds were already seen gathering outside the venue, and what a weird and ironic scene it was; people dressed in black and often in long hair outside a venue known for some of the most mainstream form of music and culture. And it was the same thing inside the venue, with extreme metal occupying the stage, and the contrasting disco balls and chandeliers hanging from the ceiling.

But nothing was going to stop extreme metal from reigning supreme on this night as Assault takes the stage as the opening band for the show. The band sounded tighter than ever, and unleashed a couple of new songs to the crowd, starting some early headbanging for the night. With the band’s lead guitarist being stuck with national service commitments, they pulled in guitarist Zi Xiang to fill in the lead spot, and he certainly nailed the entire feel of the tracks of the band, hitting every note with precision and even adding in his personal touch to the solos. Some mini moshpits were even observed throughout the set. The band ended with a slightly modified version of the crowd pleaser Subversion from their debut EP Exceptions of the Rebellions, to some great reception from the crowd, despite the small slip up that the band encountered in the middle of the track.

With the crowd sufficiently warmed up by now, Nervecell then took the stage, and right from the opening track moshpits were aplenty. It didn’t take long for Nervecell to prove to the crowd why they are the best extreme metal act out of UAE of all time, with sheer technical brilliance being displayed by each of the member of the band. Live drummer Kevin Folley handles the energetic tracks with much ease. With so much metal in the air tonight, the first technical issue finally cropped up during the set of Nervecell, with the entire system shutting off suddenly, but the band takes in in their stride and came back with even more vengeance than before. Playing songs from both their albums, Preaching Venom and PsycogenocideNervecell‘s set was definitely an extremely intense one, with no holds barred. The band ended their set with a surprise cover of Sepultura‘s Territory, inviting members of headlining band Decapitated onto stage as well, with Vogg taking over the guitars and Rafal throwing grapes and bananas into the crowd (which were instantly picked up and eaten, only to be stopped by Zouk security haha).

Usually after such an intense set, the stakes are rather high for the next band to take the stage. But with a band with Decapitated‘s calibre, there was no cause for worry at all. Straight off the start of the set, Decapitated was sheer technical brilliance, with the entire band being extremely tight, executing every time signature shift and pulling off every complex section with ease. Despite the warm reception that Carnival is Forever got since its release, when songs from the album were played live, the entire experience is definitely different, with the raw energy of the band instantly infecting the audience. Of course, this being the first time Decapitated set foot in Singapore, songs from the entire discography of the band were played, but the high point has to be when Spheres of Madness started playing, bringing about the most violent moshpit for the night. And like Nervecell‘s set, Decapitated similarly invited Nervecell onstage for a short moment, a display of camaraderie between the bands. Vogg certainly proofs the mastery of his instrument on the set, easily transiting between aggressive riffing to complex lead guitar role yet not even a hint of slipping up at all, and drummer Paul displays his mastery of all the tracks despite his rather recent joining of the band.

One other thing that definitely made Creative Chaos Vol. 2 such an enjoyable one was the sound. Man, the sound is probably the best sound that I have ever heard for live death metal so far, though this shouldn’t be too surprising considering the venue that the gig was held at, but this probably shut up any naysayers and critics of the venue where the show was held.

Definitely one of the most memorable extreme metal shows that I have been to, and probably the best show that Cynical Sounds has ever done so far. Kudos to Cynical Sounds for such an amazing night, and thanks to the bands for the memories.


Heavy Metal Tribune Issue 1

The inaugural issue of the HEAVY METAL TRIBUNE fanzine is now out! This debut issue features interviews with tech-death legends Decapitated, UAE death/thrash metal band Nervecell and newly-minted death metal band, Binah!

In addition, we have 8 choice picks for the month from our editors.

Curious? Read our first issue over here: http://www.scribd.com/doc/101309026/Heavy-Metal-Tribune-Issue-1-August-2012 or http://www.mediafire.com/?rswe1eqhjgcqi2d (for higher resolution).

Singaporeans can also get a physical copy of the ‘zine at the following outlets: Roxy Records & Trading, Inokii and La Vanita! Alternatively, contact us at boss@heavymetaltribune for more details on how to get one copy to your doorstep (postage fee of 50 cent applies)! More outlets to be announced soon, so keep your eyes peeled!

Foreign friends of Heavy Metal Tribune, you can get your physical copy over here: https://hmetaltribune.storenvy.com/

Please note that all prices that are stated here and on our online store are purely for shipping costs. Heavy Metal Tribune fanzine is completely free!

Mid-Year Recap

It’s been helluva year so far, and even though it’s only been half a  year, there have been many good releases, both from genres that I love and from genres that I hardly listen to. As well, there have been quite a number of disappointments. Below we shall list a couple of noteworthy releases over the past six months (in alphabetical order):

Albatross/Vestal Claret – The Kissing Flies/Black Priest (Heavy/Doom Metal)

What a release. Albatross‘ debut EP, Dinner is You was quite a hard one to get into, but this, this captivates the listener right from the beginning with its powerful riffs, vocals and absurdly good songwriting. And what better way to end off the split with Vestal Claret‘s Black Priest, blasphemous and occult, made even more beautiful with the vocals of Phil Swanson.

Anhedonist – Netherwards (Death/Doom Metal)

Death/doom never sounded so beautiful until Anhedonist‘s debut full length album, Netherwards. Absolutely crushing, it sucks all sense of light and hope out from the listener, leaving him to fall into complete darkness and desolation as the album progresses, further displaying the amount of thought that has been put into the release.

Belligerent Intent – Seven Are They (Black/Death Metal)

Seven Are They is a natural progression for Australia’s Belligerent Intent from their 2010 EP, Descending to Abaddon. Same intense, blasphemous lyrical contents and vocal works of Craig, yet more brutal and technical than ever, with the introduction of axe-wielding duo Mike and Luke. And how can one ever miss the battery of Matt?

Binah – Hallucinating in Resurrecture (Death Metal)

This young UK death metal trio bursts into the scene with their debut full length album, Hallucinating in Resurrecture, barely 1 year after their formation. But the songwriting that is present here is mature and complex, and the crushing music and oppressive atmosphere would easily leave one in smithereens in no time.

Essenz – Mundus Numen (Black/Doom Metal)

Germany black/doom metal trio Essenz releases their follow up to their 2010 debut this year, Mundus Numen and easily displays how black/doom metal should be done. Equally captivating and haunting, the band manages to fuse elements of both genres into one seamless one that they can easily call their own. As if black metal or doom metal weren’t hopeless enough in themselves.

Hexen – Being and Nothingness (Progressive/Thrash Metal)

Following the many other excellent modern thrash metal counterparts such as VektorHexen shows that they are also equally capable with their new album Being and Nothingness, and boasts a faster, more complex and overall more satisfying listening experience. Listen out for the neo-classical elements that the band has put into this release.

Nephelium – Coils of Entropy (Brutal Death Metal)

Nervecell has certainly become the face of UAE extreme metal. But Nephelium are here to tilt the equilibrium, and Coils of Entropy boasts some of the most technical and brutal performance out of the region so far and is easily one of my favourite brutal death metal releases, a genre that until this year I have consciously avoided.

Pseudogod – Deathwomb Catechesis (Black/Death Metal)

Until this album, metal from Russia has been something of a mystery to me. But everything on Pseudogod‘s debut, Deathwomb Catechesis is perfect. The monstrous vocals, the crushing guitars, the spacey atmosphere, down to the creepy yet somewhat majestic album artwork of Antichrist Kramer.

Revenge – Scum.Collapse.Eradication (Black/Death Metal)

War metal masters Revenge returns with their long awaited follow up to Infiltration.Downfall.Death with Scum.Collapse.Eradication this year. The departure of Pete Helmkamp was certainly a bummer, but nothing was gonna stop James Read from doing what he had to do. Scum.Collapse.Eradiccation follows in the steps of its predecessor, so if you liked Infiltration.Downfall.Death, this one won’t be a disappointment.

Sigh – In Somniphobia (how-the-fuck-should-i-classify-this metal)

And of course, how could one forget Mirai and co.’s new release, In Somniphobia? In typical Sigh fashion, this album once again sounds nothing like its predecessors. After the overly dark Scenes from HellIn Somniphobia presents a somewhat light-hearted feel, with the indulgent usage of Dr. Mikkanibal’s saxophones, though evident from the album artwork, the mind of the band is still as sick and twisted as ever.

Album Review: Nephelium – Coils of Entropy

Nephelium [UAE]
Coils of Entropy
Full Length
Brutal Death Metal

https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F33620938%3Fsecret_token%3Ds-yanCy&secret_url=true Nephelium – Merciless Annihilation by heavymetaltribune

It seems that extreme metal is thriving in the UAE, with bands like Nervecell garnering international attention with their brand of ethnic-infused death/thrash metal. Brewing deep in the underground as well comes bands playing a more brutal style of death metal in the form of Nephelium (featuring ex-Nervecell session drummer Alan), and Coils of Entropy is the band’s first self-released full length album, 8 years after their previous release, 2004’s Ignite the Wrath of Silence EP and the relocation of the band to Canada.

The battery by drummer Alan greets the listener instantly as the album begins with Burial Ground, and it is instantly made known that Coils of Entropy will be an aggressive onslaught on the aural senses, as slab after slab of solid and heavy riffs greet the listener. But as already evident from the beginning, perhaps the main highlight on the album is the drumming of Alan, who unleashes inhuman blasting sections with relative ease, never missing a single beat at all. On top of that, Alan also constantly directs the bands in terms of their tempo, and he shifts between time signatures and pace as if it were his second nature. His hard hits on the skins and martial style of playing on the snare easily make him and his instrument one of the main driving forces behind the music, on top of the crushing riffs of guitarists Alex and James. The axe-wielding duo also make use of techniques prominent in death metal with proficiency, often punctuating the chugging riffs with sweet, low-stringed pinch-harmonics. They also often engage in duelling guitar solos, with each of them displaying their unique styles on their instruments. Songs like Malediction also give bassist Florian some personal time to display his style.

The songs on the album, while mostly sticking to the brutal death metal format, also sees each of the musicians displaying their abilities, often littering the songs with technical and almost progressive sections, such as those in the middle of Merciless Annihilation. Also, unlike pioneers of this sub-genre like Suffocation that at times choose to have disjointed segments as part of their songwriting style, Nephelium chooses instead to constantly bury listeners in a barrage of noise, with the cacophony of the drums and guitars in the background. The band also constantly shifts between fast moments and slower, heavier and more intense moments when least expected, surprising listeners and keeping them interested throughout, such as on Hellborne, and the slow, chugging riffs on such slower moments can almost literally asphyxiate the listener from the sudden suspense in the atmosphere. There are also melodic moments, such as on Halls of Judgement, before anybody starts groaning that this is nothing but another piece of boring, brutal death metal album with no variety. The brilliance of the band’s songwriting is such that even longer tracks such as the 9-minute long Malediction and 10-minute closer Coils of Entropy constantly keeps the listener engaged, with not a single boring moment, with each of the track containing almost progressive structures in terms of the variation and time signatures contained in each song.

Coils of Entropy is nothing, but a brilliantly executed album with each member of the band being extremely proficient on their instruments, backed by excellent songwriting which nicely displays the band’s aggressive style of brutal death metal. The clean and clear production quality of the album helps in making every single instrument ring out clearly, and ensures that none are buried within the mix, and this certainly puts the band at an advantage in displaying their capabilities, and definitely marks a good start for metal in 2012.

Nephelium on the internet:

©2012 Heavy Metal Tribune | Hong Rui

Interview with Nervecell

Nervecell has fast become the face of extreme metal bands out of Dubai, UAE, with 2 full length releases under their belts. With this year’s Psychogenocide, the band has further proven their reputation as the leading band out of the country. We talk to the band to find out more about them, and their tour with bands like Morbid Angel and Necrophobic.

HMT: Greetings Nervecell! Thank you for giving us this chance to talk to you. How is the current tour going for the band?

Rami: Thank you for having us! We are now 4 weeks onto the tour with legendary Morbid Angel and coming towards the end of it with a couple of more shows to go. We started the tour in the UK, and continued across Europe visiting many great cities. We’re having a blast every night on stage and off stage. The fans have been great so far and it’s been a real pleasure to be on tour with Morbid Angel.

The band is currently on a tour with death metal heavyweights such as Morbid Angel and Necrophobic. How does it feel touring with these legends? It must be a surreal experience hanging out backstage with bands like Morbid Angel, considering how big an influence they are on the band!

Barney: It is an absolute honor for us to be on this tour supporting Morbid Angel for an entire month of shows all over Europe. We totally have been influenced by them growing up learning to play our instruments. We’ve been very fortunate to get to share the stage with them night after night, its simply another great achievement we’ve landed ourselves, being committed to the music we write.

Nervecell this year released its second full length album entitled Psychogenocide. How has response been so far for the album from fans of the band?

Rami: The response has been great so far and we’re very happy with it. We are receiving lots of feedback from our fans who are very satisfied with the new album. Also many positive reviews from Worldwide publications, magazines etc. We’ve been supporting “Psychogenocide” since it came out in May 2011 – touring Asia, European festivals and now touring with Morbid Angel across Europe.

The band has incorporated ethnic influences in the album, on top of the crushing death metal that is presented on the album, such as on the opening track, Anemic Assurgency. How does the band go about writing the music and incorporate such elements in the music?

Rami: Honestly, we wanted to add some new elements to the album, and we though why not add the Arabic instrument “Oud” in the intro this track. We thought that it would sound amazing, especially with the eary/creepy feel to it matching the concept of the album. A good friend of mine named Ramy Aziziah performed the “Oud” on this track. We went back and forth with ideas and so on. It all really comes naturally as we are from the Middle East, and we wanted to make something new and refreshing, yet ethnic. So it turned out to be a great opener for the album.

In particular, one of the tracks on the album, Shunq, features Karl Sanders from Nile. How did this collaboration come about and what why pick Karl Sanders in particular as the guest musician?

Rami: We wanted to add Arabic language in this song specifically, and since James (our singer/bassist) planned to sing the Arabic parts, we thought of featuring another vocalist to sing the English parts. We thought of some names and Karl Sanders was one of them. So we contacted him and he was very excited about the idea, and it worked out great! He is a legendary musician and a great person to work with for sure. We also shot a video for the song which should be out soon.

On Shunq, the band also incorporated Arabic lyrics into the song. What was the reason behind doing so, and what is the significance and meaning behind the Arabic lyrics?

Rami: Our vocalist/bassist James had this idea in mind for some years and we thought it was the right time to do it in “Psychogenocide”. It’s pretty much the same reason for adding Arabic instruments in some songs… we wanted to have something new, something we’ve never done before, and of course using our tongue/mother language is something very challenging, as Arabic language is very difficult to incorporate with metal music, but we spent lots of time working on it and it turned out fantastic. The song talks about the defeat of humanity against the devil or evil in general.

For the recording of the album, the band recorded the various instruments in different studios. What was the reason behind this, and what is it like recording the album in different countries?

Rami: We started recording the drums in Australia with David Haley (Psycroptic) since he was based there, since it was very convenient to do it there. Once we finished with the drums, we started tracking the guitars in Dubai. Towards the end of the recording process we had record at my own place in another country which is Qatar…so we did some final guitar work, vocals and bass over there. We also recorded the other instruments such as “Oud”, Arabic percussion in Qatar. It wasn’t that difficult for us, because since I’m handling the engineering/production, and we had the freedom to do what we wanted. The mixing and mastering was done at Hertz studio in Poland since we worked with them on our previous album “Preaching Venom”, we decided to work with them again.

The mixing and mastering of the album was done in yet another country, in Hertz studio in Poland. What was it that made the band decide to approach them regarding mixing and mastering?

Barney: We’ve always been fans of the albums that Hertz Studios have worked on for years with bands like Vader, Behemoth, Decapitated etc.. Back in 2008 when we first worked with Hertz Studio on our first full length “Preaching Venom” we had just mixed the album there and it sounded great. This time however with “Psychogenocide” we decided we’d like to have them handle both the mixing and mastering duties for the album while we focus on just the tracking of the guitars, bass and vocals ourselves. That way we took our time with the recording process and made sure we give them the best results before we handed the faith of the album into their hands. Everyone who’s heard “Psychogenocide” has agreed that we choose wisely…It’s a fantastic sounding record that we are well proud of!

The band’s lyrical themes also revolve around death, violence and humanity. Are there any particular binding concepts or themes behind Psychogenocide?

Barney: “Psychogenocide” is a term we created that best describes the message we as a band are trying to put out there, its high time we the people open our eyes to the corrupt individuals that we see published by the media as hero’s or leaders. We are in a state where a war can kick off overnight and since we come from a region where chaos has long existed we try and use our music as a weapon against those cowards who hide behind curtains. The concept behind “Psychogenocide” speaks of the innocent being misled and brainwashed by their own kind…a mental war fare that we want to see stopped.

With the band members being at different parts of the world, how does the band manage to communicate with each other and rehearse, especially for gigs?

Barney: Whenever we have a tour or gigs lined up we usually all get together in Dubai (where James and I actually live in), Rami and our drummer fly’s down prior to the rehearsals. Normally we rehearse for 2 to 3 days before we head out to play. Its not easy nor or simple but it hasn’t stopped us from being a band and touring either.

The band is currently the leading metal band out of Dubai, with Nervecell being the name that is mentioned when talking about Dubai extreme metal. How has the band managed to handle the touring lifestyle, and what are some of the advice that you can give to new and upcoming bands?

Barney: A lot of bands play for fun and to enjoy simply just getting together and jamming. If you are really serious and want to make it in this cut-throat industry today then you will really have to do anything and everything it takes to get your music played and heard. Play anywhere and everywhere and never develop an ego even if you think you deserve better at times. Networking is a great way of promoting your band name, its really easy to do today with all the social networking sites available, however before all of that more importantly take your time and put out an album first, take your time when writing music and be as critical of yourself at all times rather than have a random journalist judge you and eventually end up de motivating you in the end. “It’s a long way to the top if you wanna rock and roll” but impossible is nothing my friends! As far as the touring lifestyle goes, its everything we ever wanted to do in this band. You have to just learn to live with some real shitty conditions at times, what makes it all worth it though is the simple fact of getting on stage that night and sharing your music with fans who love it just as much as you do. There really is no comparison to explain how wonderful that feels!

Also, what are some of the bands from Dubai that fans of extreme metal should look out for? What is the metal scene like over there?

Rami: Honestly, the metal scene in Dubai is developing. It’s considered to be a good scene compared to others in the Middle East with a handful of bands to look out for. We grew up playing many underground gigs in Dubai, mostly in universities, colleges and places like that. We didn’t really have specialized metal clubs or pubs at that time but in the past couple of years there have been lots of clubs in Dubai that holds metal shows, which is great! With the help of Desert Rock Festival in Dubai, responsible for bands coming to Dubai and Middle East for the first time, to name a few – Megadeth, Iron Maiden, Machine Head, Motorhead etc. and that definitely helped develop the scene and bring more fans onto this music.

When the current tour wraps up for Nervecell, what are the near future plans of the band? Can fans expect to hear any new material soon?

Barney: Well apart from touring as much as possible during the first half of next year we will eventually end up writing new material through out the course of next year for sure in between the gigs we take up. There are already a few ideas being thrown around here and there between Rami and myself, so as far as sitting down and focusing on song arrangements goes that will probably happened more towards the end of the year…so stay tuned for a 2013 new Nervecell release indeed!

We have come to the end of the interview, the last words are all yours!

Rami: Thank you very much for the support. Hope the readers enjoyed reading this interview. Keep supporting metal!

Thank you once again for giving us this opportunity to talk to you! We wish the band all the best in the current tour and all upcoming endeavours.

Barney: Cheers \m/

Nervecell on the internet:
Official website

©2011 Heavy Metal Tribune | Clarence

Interview with Apeira

Hailing from Al Ain, UAE, Apeira is one of the few metal bands that have emerged from this region that is known to have low tolerance for heavy music. Having recently participated in the Metal Asia Compilation, and now already set to perform at this November’s Metal Asylum Open Air Festival, undoubtedly the biggest metal fest in this strict Muslim region, we talk to the band members to learn more about their history, and the difficulties they face as a band.

Greetings Apeira! Thank you for giving us this opportunity to interview you. Give us a brief introduction and history of Apeira.

Al: Well we started back in 2009 as Aeon Omega and there were four of us, Osama who was our rhythm guitarist had to leave UAE for university, and after that we just started working on our own material deciding to release an album in summer 2011. After releasing our track Mayhem Unleashed we shot up on ReverbNation Charts to second band in UAE local metal charts right after the mighty Nervecell and now here we are.

Apeira was formally known as Aeon Omega. Was there a particular reason behind the change in the band name? Was there a significance behind the name “Aeon Omega”?

BaM: First of all, in simple words Apeira just sounds more simpler, less complex and more catchy than “Aeon Omega”. Before really starting the band, we had this pretty cool symbol that we always thought it would be an awesome band symbol which was an “Omega” symbol behind an “A” letter, and by time we figured out the right word for the “A” which was Aeon. So, there we got Aeon Omega, where “Omega” meant the ending, and to put this word “Aeon Omega” in action, it means that this is the final Aeon… Lameness of meaning and it’s complexity made us just change the band name.

Apeira, as stated on the band’s website, is the land of infinity. How did the concept behind the name of the band come about, and how does it relate to the band’s music?

Al: Well Apeira comes from the word Apeiron which is Greek for infinite, unlimited, boundless. We have vast lands we call continents, Asia, Africa, Australia, America and vast empires, Persia, Syria…all ending with ‘a’ therefore to us, Apeira represents the ‘Land of infinity’ which in other words is the afterlife…Heaven and Hell. Being progressive the band’s music has a number of oriental type songs mostly Arabian in nature and the album we are currently working on ‘Gates To Apeiron’ is basically a story based on Apeira and how a man finds his way to it.

Hailing from Al Ain from the UAE, we are particularly curious about the metal scene over there. Perhaps you could enlighten us by telling us a bit about the metal scene in UAE?

Al: Al Ain in general doesn’t have a good metal scene I could say that we are the only metal act here however in Dubai the metal scene is growing fast…its turning out to be something huge!

Sherry: the metal scene in Al Ain is really not good, barely anyone here listens to metal… but if we look towards dubai, its one of the cities in middle east which has metal growing really fast.

With the UAE being a mostly Islamic country, are there a lot of restrictions on the type of music that bands play and the lyrics written?

Al: Well that restriction always is there particularly in the middle east but all I can say is we haven’t come across any difficulties so far hopefully it will stay that way.

Sherry: well UAE is one of the Islamic countries which is filled with different types of cultures, the only problem we face is that the music we play is that its kinda loud and neighbors get really annoyed… but considering the religion with music we play, we don’t have any problem yet.

BaM: UAE, being an Islamic country is not an easy place to play metal just anywhere, and it’s really hard to find your band a solid gig. However, organizations like Rock Nation and Metal Asylum are doing a pretty good job organizing gigs and gatherings for metalheads around UAE. Lyrics wise, it doesn’t matter as long as we’re not writing satanic content, but in fact, our lyrics’ main purpose is to motivate the listeners to carry on with their lives, and just to give them an idea that when all doors close, another one opens. So nope, no satanic stuff… maybe in some songs later. haha

How did the band members first come into contact with the metal genre?

Al: Well actually it’s a funny story, in Al Ain the metal scene is very small, almost non-existent. So almost everyone over here has a background in RnB and Hip Hop…I were mostly into that until about 10th grade and then BaM, who has been my closest friend since 6th grade introduced me to metal and yeah all I can say is that I got brainwashed into it…I now am a proud metalhead! And about BaM…he was in the RnB phase as well but since he was a skateborder (Note: WAS…haha) he liked punk music n basically moved on to metal.

Sherry: well I was into rap and RnB as well because as a kid, I liked to hear something which I could understand, metal at that time kinda sounded just like noise, but when I came in contact with metal in grade 10 by one of my class mates… I kinda liked it cause I started concentrating on the instruments one by one and understanding the skills it takes to play such stuff… and I have been into metal since then.

Back to the band’s music. Are there any themes and concepts that the lyrics to your music revolve around? Al Ain is known as a garden city, so does the nature in Al Ain provide you with the inspiration to write music and lyrics?

Al: The theme revolves around the afterlife just like the band name states, as I mentioned earlier we are working on our album and the story of the album revolves around a man heading into the afterlife. Once we are done with this we are going to work on another type of story but with the same general concept of Heaven and Hell and how people think about it. The way I write the lyrics is more like the verse of each song talks about a part of the story and the chorus is something like our message to that man and everyone listening. Al Ain’s nature helps a lot, well we don’t really get a lot of ideas looking at trees and stuff but just going up on Jabal Hafeet n just sitting there on the rocks…has a peaceful effect and stuff.

Sherry: well the theme that our music has is kind of motivational, its for people to start living in a very positive prospective, for people to value life and do something good when your in it and definitely the atmosphere around us helps. Compared to Dubai or Abu Dhabi, Al Ain has a very good atmosphere which is less stressing than a humid and polluted area.

With the band’s music being labeled as progressive death metal, are there any difficulties that you encounter, having only 3 members? For example, Al has multiple duties in the band, including keyboards and bass. How does the band handle when performing live?

Al: Yeah, playing live is not really easy since we are a three piece band so the music we play live sounds a tiny bit different than the recorded tracks we post but just as good.

Sherry: yes we do face a lot of difficulties with the lack of band members. For example Al started learning bass aside from the keyboards and bam started practicing singing while playing leads on the guitar… things like this really does help in playing live, but what we miss now is a rhythm guitarist. We had a rhythm guitarist (Osama) before but unfortunately he had to leave back to his country for university and since then we have been a 3 piece band.

BaM: Well yes we will find difficulties playing live and we require a rhythm guitarist at least. On the other hand, the songs recorded so far are pretty melodic and listeners might label us as melodic death metal, but the reason we label ourselves as progressive death metal is because we have many different ideas of songs and riffs, so the next coming songs that will be recorded will show our progressive side. Besides, when it comes to composing, I love the freedom of composing. I don’t like limiting our riffs, or lyrics or music in general, because I have many ideas for composing songs, and it’s nice to have different colors in our music.

The band will be performing live in November at the Metal Asylum Open Air Festival. How is the band preparing for it and what can followers of the band expect to see at Apeira’s performance?

Al: Before university began we pretty much were practicing everyday and now we do the same just on weekends though, good news to fans of Apeira, we will feature our new track Apocalyptic Fear at Metal Asylum Open Air Fest. 2010, never before heard and I personally guarantee you will love it, also we will show you a preview of another one of our oriental tracks Path To Sanity so get excited!

Sherry: well we have been practicing a lot during the past summer, but again, “neighbors” don’t really like my drumming…. we have been using a drum precautions instead of a real drum set because “neighbors” dislike all that noise. So having a drum precautions help us to adjust the volume. But, we guarantee that we wont let our fans down and we guarantee that they would love the performance.

With metal being a generally frowned-upon music genre in Asia, very few people can actually make their band a full-time job and have a day job when not touring. Do the band members have any day jobs to support the band? What are they?

Al: We are students at the moment so we don’t really have full time jobs although I do tutor some kids at college and some school kids, also give some classical piano classes.

Sherry: well its still long way for us to get to our jobs which gives us the opportunity to concentrate more on our instruments and studies.

We have come to the end of the interview. Thank you once again and we wish Apeira the best of luck in the November performance and any other upcoming endeavours!

Apeira on MySpace and Facebook.

©2010 Heavy Metal Tribune | Hong Rui