#israelimetal — Public Fediverse posts

Much of underground metal is fueled by the devotion of single-minded enthusiasts. For every obscure band that spends years lingering between major releases, there are several solitary creators like Gary Brents or Damián Antón Ojeda whose prolific output forms a substantial part of the genre’s global ecosystem. Die Entweihung is one such project, serving as the creative outlet for Israeli multi-instrumentalist Denis Tereschenko. Over the past 15 years, Tereschenko has released an astonishing 11 full-length albums under the Die Entweihung banner. I’d never encountered his work before, but the project’s latest release, Worldwide Terror, landed in our overflowing promo bin promising a blend of progressive thrash and classic heavy metal. Joined by vocalist Alena 7, Tereschenko aims to deliver a forward-thinking, challenging record fit for a turbulent era. With that much experience behind him, does Die Entweihung’s twelfth full-length live up to its ambitions?

The particular brand of thrash on Worldwide Terror feels ripped straight out of the mid-80s. This is a vintage flavor of the style that largely eschews modern production and tonecraft for an analog-flavored, heavy metal-adjacent payload that recalls early Overkill, tempered with flashes of Voivod. The eponymous opener sets the stage with the expected power-chord gallop, but tempers its aggression with subtle melodic keyboard lines throughout and largely succeeds as a piece of throw-back enjoyment. Tereschenko deploys plenty of energetic, odd-meter riffs, and his active bass work and grounded drumming style provide some much-appreciated instrumental meat even as the song rides a standard structure for just a tad too long. On tracks like this and “Warriors of the Lie,” Die Entweihung reads as competent prog-tinged retro thrash executed with just enough personality to keep things engaging, but the same cannot be said for much of the album’s runtime.

Alena 7’s vocal performance on Worldwide Terror recalls the hard-rocking delivery of Doro Pesch or Lee Aaron, lending Die Entweihung a distinctive, campy personality even when the vocal lines themselves fall short. She switches between throaty mid-growls and charmingly unpolished operatics, but too many songs are undermined by grating melodies. The hooks on “Newborn,” “Really Your Life, and “Eight Billion Headed Whore” are particularly tough to stomach, actively detracting from the listening experience. Thrash may not be known for stellar vocal performances, but the record’s heavier traditional-metal leanings and vintage production place far more emphasis on the vocals, making their inconsistencies difficult to ignore. As a result, the back half becomes a slog, particularly when the shaky vocals are compounded by increasingly uninspired songwriting.

There are plenty of exciting instrumental moments on Worldwide Terror, but the disparate pieces rarely coalesce into satisfying songs. Die Entweihung largely deploys all-too-familiar riffs and songwriting clichés that just fail to register as anything interesting. Tereschenko is a skilled musician who understands the assignment, yet his compositions too often feel plodding and directionless. Every track stretches past the five-minute mark, and there simply isn’t enough substance to justify those runtimes. “The Darkest Morning” and “Newborn” push seven and eight minutes, respectively, and while both feature dynamic shifts and notable turns, their transitions are clumsy enough that every minute of their length is felt. Occasional flourishes, like the strings and saxophone interjections on “Generation of Pawns,” add some welcome texture but can’t rescue songs that fundamentally lack momentum. Moreso, the record features two full-length instrumentals (“Generation of Pawns” and “The Brightest Night”) which offer little structural variation and ultimately feel more like unfinished compositions in search of vocals.

It brings me no joy to pen such a negative review of a small artist, but I struggled immensely to make it through repeat listens of Worldwide Terror. Die Entweihung has delivered an album of overlong songs built around riffs that are simultaneously boilerplate and ineffective, further kneecapped by some genuinely unpleasant vocal lines. It’s clear that Tereschenko is both a veteran of the scene and a talented musician, but this entry in his prolific catalog is best left unattended.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Morbid and Miserable Records
Websites: morbidandmiserable.bandcamp.com| instagram.com/dieentweihung
Releases Worldwide: August 7th, 2026

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

Tomorrow’s Rain – Ovdan Review

By Twelve

Tomorrow’s Rain is an interesting beast. The Israeli six-piece treads between doom and gothic metal, and made a splash with their debut Hollow in part because of the sheer number of guest musicians who participated in the album. Now, four years later, the band returns with their sophomore full-length, Ovdan (“Loss”), an album with a deeply personal backstory. This was recorded after vocalist and founding member Yishai Swartz suffered a heart attack severe enough to warrant open heart surgery. The result is a noticeable shift in sound for Tomorrow’s Rain, but one still grounded in the band’s founding principles—and yes, with a lot of guest musicians chiming in. Knowing all of this, it’s easy to come into Ovdan with high expectations—but I’ve always been a “let the music do the talking” kind of listener… so let’s talk about it.

As mentioned earlier, the music Tomorrow’s Rain plays sits somewhere between doom and gothic metal. The vocal style—or styles; there is no singular style on an album with four guest vocalists—shifts between baritone and tenor singing and fairly standard roars or snarls. The music supports this approach, favoring grim, bleak, or downright angry riffs backed by extensive keyboard work for melody or atmosphere. Guest musicians appear on five out of ten tracks; singers Andreas Vingback (Dark Funeral) and Tony Wakeford (Sol Invictus) on “Roads,” Attila Csihar (Mayhem) on “Muaka,” Michael Broberg (Unanimated) and Anja Huwe (Xmal Deutschland) on “I Skuggornas Grav,” and Jan Lubitzki (Depressive Age) on “Burning Times.” Michael Denner (Mercyful Fate and King Diamond) also contributes guitars on “Turn Around.” Across these songs, I can also infer inspiration from other acts—”Roads” opens the album with a saxophone melody that invokes White Ward, while the acoustic passages on “Muaka” remind of Rosk. “Turn Around” is a lean and mean gothic metal powerhouse that vaguely resurrects Charon. All of this is to say that there is a lot of influence from all kinds of metal informing the Tomorrow’s Rain sound here on Ovdan.

It would be a monumental task to blend all of the above into an album with a singular, cohesive identity. While I couldn’t say Tomorrow’s Rain does a poor job with this, I’m not convinced they fully rise to the occasion either. The trouble is that some styles work better than others, resulting in an uneven album. Take opener “Roads,” for instance. The album opener carefully treads through six minutes of bleak, shivering atmosphere; the low cleans a perfect complement to the dismaying music. There are subtle synth leads, the aforementioned saxophone, and a really strong vocal performance. Then, without warning or buildup, the song erupts into a seventh minute of metal that feels at odds with the rest of the song. “Burning Times” stands stronger, with great piano leads and a heavy, gothic feel. It is a very good song, but the only one that sounds quite like it on Ovdan. Elsewhere, “Muaka” is a very well-written song, but the ugly snarling performance from Csihar is completely at odds with it, and the juxtaposition makes the song unlikeable, rather than memorable.

What Tomorrow’s Rain does extremely well on Ovdan is atmosphere. “I Skuggornas Grav” is one of the best songs here, a hauntingly quiet piece that gives singers, bassist, and keys real chances to shine. As much as I didn’t like “Muaka,” its acoustic intro and synth-led outro are phenomenal. Similarly, “Convalescence” shines through its plucked guitar leads, cathartic narrations, and gorgeous string sections. This becomes a pattern throughout Ovdan—in an album that seems to be looking everywhere for an identity to call its own, these emotional, atmospheric passages shine as its true strength. Songs like “Room 124” that focus on being “just” metal don’t really make an impact on me. But “I Skuggornas Grav?” Those echoing cleans will be in my head for the rest of the day now.

From Hollow to Ovdan, Tomorrow’s Rain give the impression of a band still trying to find the sound that works best for them. There’s a little bit of everything here. Some of it works well, and some of it isn’t so great, but all of it has meaning, feeling, and care. There’s a great base here, a good foundation for something great to come. Ovdan isn’t quite it, but it gives plenty of reason to think it won’t be long before it’s here.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: tomorrowsrain.bandcamp.com | facebook.com/TomorrowsRain
Releases Worldwide: April 19th, 2024

#25 #2024 #AODRecords #Apr24 #Charon #DarkFuneral #DepressiveAge #DoomMetal #GothicMetal #IsraeliMetal #KingDiamond #Mayhem #MercyfulFate #Ovdan #Review #Reviews #ROSK #solInvictus #TomorrowSRain #Unanimated #WhiteWard #XmalDeutschland

I've actually never heard of " #OrientalMetal " before

#Genre was maybe the wrong word to use before (not sure if I should go back and change it?) the geographic label is more just a "category" that overlaps with genre and style.

There is also a #GermanMetal playlist https://open.spotify.com/playlist/37i9dQZF1EId7CFKROoBp9

But that isn't simple either… it could be a language category if not for the English Language band "Emigrate" featuring #RichardKruspe from #Rammstein … and one track from "Oomph!" in English

and it doesn't work as a national category because it features #Nachtmar from #Austria and #Laibach from #Slovenia (both a bit problematic) but at least they didn't include the bands from the USA that use some #German in their lyrics? (often less problematic, just not very German)

maybe "German Metal" works as a "theme"?

I'm not sure if "Arab metal" works as a category at all? Maybe "Arabic metal" including a few related tracks like that "German metal" list?

I thought this thread was forking but it's ended up linking back to the "where does Melechesh come from?" #Znous don't seem to think they are #IsraeliMetal "We understand that things went the way they went with early “Oriental Metal” bands coming from historical Palestine like #Melechesh or #OrphanedLand (which were the first to be labelled so). Many newer bands coming from the region have unfortunately adhered to this bordering-racist and discriminatory term/genre." https://www.znousland.net/we-are-not-oriental-metal-do-not-exotify-us/ (same link as in previous post)

I also saw Orphaned Land on that "Israeli Metal" list https://open.spotify.com/playlist/37i9dQZF1EIfUNA6VGyfJf they are just "Formed in Israel in 1991…" https://open.spotify.com/artist/7xTMxqAmbtE0Nce5lz7t0h

I'm not sure how they identify given the essay from Znous describes them as from "historical Palestine" but i am curious now…

Now I am wondering if there a #ChineseMetal #spotifyPlaylist with #Chthonic on it?

cc @[email protected] @[email protected] @[email protected] @[email protected]

#HistoricalPalestine #90sMusic #90sMetal #PalestinianMusic

I'm not a massive fan, as i said before they're a band i vaguely remembered finding last time i was looking for Middle Eastern metal bands.

But this is an interesting little educational case study for me to explore … and I'm wondering why #spotify moved them?

#Wikipedia describes #Melechesh as "an ethnically #Assyrian #BlackMetal band that originated in #Jerusalem and is currently based in Amsterdam" https://en.wikipedia.org/wiki/Melechesh

They seem to currently be based in Greece https://www.facebook.com/melechesh
and #EncyclopaediaMetallum list as assortment of locations in Europe https://www.metal-archives.com/bands/Melechesh/424#band_tab_members

So… a #European #BlackMetal band who formed in Palestine and have Middle Eastern heritage? #IsraeliMetal seems like an odd label for them?

#Assyrians don't generally identify as Arabs https://www.middleeasteye.net/discover/assyrian-people-not-muslim-arab-asian-jenan-younis-meet
https://www.middleeasteye.net/discover/assyrian-people-not-muslim-arab-asian-jenan-younis-meet

So the #ArabMetal designation seems inaccurate, but I think it's a slightly odd label to use in general. The theme seems to be "metal from the Arab world" https://open.spotify.com/playlist/37i9dQZF1DXaqykGqi6KX8

…but identity is a foggy thing…

cc @[email protected] @[email protected] @[email protected]

(side note - infosec.exchange seems to have a lot more #metal related tags chiming up as suggestions than mastodon.social did? i think i like this server) #MetalHead #MetalBands #MiddleEasternMetal

A weird little observation … #Spotify has removed #Melechesh from the "Arab Metal" #playlist and they're now on "Israeli Metal"

I was listening to the #ArabMetal section yesterday wondering where that vaguely familiar band i liked was … and now i find them annexed? (probably called Arab rather than #Arabic because a lot is in English)

I have no idea what their background is? but I'm curious now… I'll look it up later.

cc @[email protected] @[email protected] @[email protected]

#music #HeavyMetal #IsraeliMetal #Jerusalem

I'm listening to Multiple Truths by Melechesh

https://songwhip.com/Melechesh/Multiple-Truths

If the previous link doesn't work, try the next one:
https://songwhip.com/convert?url=https://open.spotify.com/track/2oX8I1qcmGfIyo4mQSczfe&sourceAction=pasteUrl

https://metalpython.pythonanywhere.com/searchandtoot

#nowplaying #blackmetal #blackmetalmonday #folkmetal #israelimetal #orientalmetal #paganblackmetal