AL-NAMROOD: “AL AQRAB”

(Below you will find Didrik Mešiček‘s review of a new album by the Saudi Arabian band Al-Namrood, which will be released in just a few days from now.)

There are many of us for whom metal is an essential part of our lives and some might say, rather dramatically, that it’s a matter of life and death. For Al-Namrood, however, that statement is quite literal.

The band’s name translates to “non-believer” and that’s the exact essence the Saudis convey with their music and exactly what could get them potentially executed, which is why they’ve never been able to play a live show as the risk is simply too great. Despite that, the band has been going strong since 2008, and Al Aqrab – to be released on June 9th by Shaytan Productions – will now be their 10th full-length album.

The band endeavours to make each album distinct, and while the predecessor from 2020, Wala’at, was very chaotic, this begins in a more composed yet ominous manner. The band has a new vocalist in Artiya’il after Humbaba left the band in 2022 and it’s quickly apparent he gives them a different dimension while retaining the Al-Namrood aura. However, both opening songs, “Ardh Bela Sama” and “Lisan Al Nar”, could do with being a bit faster and more intense.

Al Aqrab focuses more on building an atmosphere rather than the chaotic rawness of the previous album. There’s less fury in it but there are many distinctly Arabic influences, from the band’s typical usage of the Arabic scale, of course, to the particular Arabic instruments; nowhere in my promo does it say exactly what the band is using, but I’d wager there’s at least some oud (a lute-like instrument) and qanun (a stringed instrument) in there. The track “Taht Al Jeld” showcases a lot of this and acts as an instrumental interlude before “Al Ghasasina” brings back some needed aggression to this record and the vocals become the leading force of the release for the first time.

This is a bit of a turning point in the record as the next song also offers harsher guitar work than the first half of the album and it feels as if the band has awoken at this point. There’s a lovely muffled sound in the background of “Diar Al Anbat” that adds to the chaotic, yet strangely catchy, dissonance of the track and this is definitely a highlight of the album. “Abwab Edom” is not dissimilar, cementing the idea that the second half of this album is more aggressive and overall simply better.

The Saudis naturally use only their native Arabic on this record as it’s fitting for a band fighting oppression in their home country. The closing song, “Tarjif,” features no vocals but surprises with a really punkish/speed-metal take on their sound, and while it’s unexpected, I think it’s actually one of the cooler tracks on this album. With just over 40 minutes Al Aqrab is concluded with mixed feelings; it undoubtedly has cool elements yet most of the album hasn’t appeased me fully. 

While I have nothing but respect for Al Namrood I don’t think this is the band at their best – still, Al Aqrab has its moments and shouldn’t be discounted outright. It’ll be especially interesting to people who are looking to expand their horizons and see what else exists out there and how extreme music sounds in parts of the world that aren’t typically known for it. After all, there are only so many Scandinavian black metal bands a person can hear before it gets just a bit oversaturated. 

Lineup:
Mephisto – guitars, bass
Ostron – keyboards, percussion
Artiya’il – vocals

https://www.facebook.com/alnamroodofficial/
https://shaytanproductions.bandcamp.com/album/al-aqrab