Asia: Where Metal Meets the Mandate

Asia’s political rockers often fuse cultural activism with headbanging fury, turning stages into soapboxes for independence and identity.

• Sanae Takaichi (Japan, Prime Minister, 2025–present): Elected leader of the Liberal Democratic Party and Japan’s PM at age 64, Takaichi’s rock roots trace back to her university days in a heavy metal cover band. She still unwinds with an electronic drum kit, blasting tracks by Metallica and X Japan to “clear her mind.” Her “Heavy Metal Lady” nickname underscores how this hobby fueled her resilience in a male-dominated field, where she champions economic revival and national security—much like a riff that refuses to fade.

• Freddy Lim (Taiwan, Legislator, 2016–present): As frontman for symphonic black/death metal band Chthonic since 1993, Lim has woven Taiwanese folklore and anti-colonial themes into albums like Takasago Army (2005), which toured with symphonic metal giants like Epica. Co-founding the New Power Party, he won a seat in Taiwan’s Legislative Yuan in 2016 (re-elected 2020 and 2024), surviving a 2022 recall. He’s dubbed the “world’s first metal politician,” proving extreme music can drive moderate reform.

North America: From Grunge Grooves to Congressional Jams

The U.S. and Canada boast a roster of rockers who pivoted from festival circuits to Capitol Hill, often using fame to amplify overlooked causes.

• Sonny Bono (United States, U.S. Congressman, 1995–1998; Mayor of Palm Springs, 1988–1992): Half of the iconic pop-rock duo Sonny & Cher, Bono co-wrote and sang on hits like “I Got You Babe” (1965), blending folk-rock with psychedelic edges on albums like Inner View (1967). After a mayoral stint revitalizing Palm Springs’ economy, he served as a Republican Congressman for California’s 44th District until his 1998 death. Bono’s legacy? The Sonny Bono Copyright Term Extension Act (1998), extending artist protections—a direct riff from his music industry battles.

• John Hall (United States, U.S. Congressman, 2007–2011): Guitarist and co-founder of soft rock band Orleans, Hall penned yacht-rock staples like “Still the One” (1976), which sold millions and became an NFL anthem. As a Democrat representing New York’s 19th District, he co-sponsored the Veterans Claims Modernization Act (2008), streamlining benefits for service members. Hall’s harmonious style translated to bipartisan environmental advocacy before he retired in 2010.

• Jon Huntsman Jr. (United States, Governor of Utah, 2005–2009; U.S. Ambassador to China, 2009–2011; Ambassador to Russia, 2017–2019): Bassist in the progressive rock cover band Wizard during his youth, Huntsman jammed on classics by Yes and Genesis. Rising through diplomatic ranks under both parties, he governed Utah with a focus on trade and education, later running unsuccessfully for president in 2012 and 2016. His band’s exploratory sound echoed his globalist foreign policy.

• Jon Fishman (United States, Selectman of Lincolnville, Maine, 2017–present): Drummer for jam-rock legends Phish since 1983, Fishman powers marathon sets blending funk, psychedelia, and bluegrass on albums like A Picture of Nectar (1992). In his low-key town role, he tackles local environmental issues, from zoning to conservation—applying Phish’s improvisational ethos to community governance.

Europe and Oceania: Protest Anthems to Parliamentary Thrones

Down under and across the pond, rockers have long used music as a megaphone for social change, storming parliaments with the same fervor as mosh pits.

• Peter Garrett (Australia, Minister for the Environment, 2007–2010; Minister for Education, 2010–2013; MP, 2004–2013): Lead singer of post-punk rockers Midnight Oil (1976–2002), Garrett belted protest anthems like “Beds Are Burning” (1987), railing against Indigenous dispossession and uranium mining. As a Labor Party MP, he shaped climate policies and Indigenous reconciliation, retiring to reform the band in 2017 for The Makarrata Project (2020). Garrett’s arc shows rock’s protest roots seeding policy fruit.

• Tony Blair (United Kingdom, Prime Minister, 1997–2007): Guitarist and singer in the rock cover band Ugly Rumours at Oxford (late 1970s), jamming on Fleetwood Mac and Chuck Berry tunes. As Labour PM, Blair modernized the economy and devolved powers to Scotland and Wales, though his Iraq War legacy remains divisive. His band days hint at the charisma that won three elections.

Africa and Beyond: Fusion Rhythms in Ministerial Chambers

African leaders blend traditional sounds with rock edges, using global stages to elevate cultural diplomacy.

• Youssou N’Dour (Senegal, Minister of Tourism and Leisure, 2012–2013; Minister of Culture and Communication, 2017–2021): A mbalax pioneer fusing Senegalese griot traditions with rock and pop, N’Dour‘s hits like “7 Seconds” (1992, with Neneh Cherry) earned a Grammy and UNESCO ambassadorship. Appointed by President Macky Sall after a 2012 presidential bid, he promoted tourism and cultural exports, turning Senegal’s music scene into soft power gold.

While runners like Jello Biafra (Dead Kennedys frontman, 1979 San Francisco mayoral candidate) and Kinky Friedman (country-rock satirist, 2006 Texas gubernatorial hopeful) electrified campaigns without victory, the true office-holders above form a eclectic lineup. Notably absent: any sitting or former presidents with verified rock/metal performance histories—Bill Clinton’s saxophone leaned jazz, not shred.

From Tokyo’s drum kits to Canberra’s cabinet rooms, these rock-rooted rulers remind us that governance, like a killer solo, thrives on passion and improvisation. In an era of polarized playlists, their stories bridge divides, showing how the thunder of amps can harmonize with the gavel’s strike. As Takaichi taps her sticks in the PM’s residence, one wonders: Who’s next to trade distortion pedals for diplomatic cables? The stage is set—let the riff begin.

The Bible, with its vivid tales of apocalypse, redemption, and divine intervention, remains the most common source. In the Book of Revelation alone, imagery of horsemen, beasts, and judgment has inspired a slew of tracks. For instance, Metallica‘s “The Four Horsemen“ channels the apocalyptic riders symbolizing conquest, war, famine, and death, transforming the scripture into a thrash metal anthem about destruction and fate. Similarly, their “My Apocalypse” echoes Revelation’s end-times chaos, with lyrics evoking extreme peril and renewal. Iron Maiden, masters of historical and literary themes, contribute heavily: “The Number of the Beast” famously references the mark of the beast (666) from Revelation, portraying it as a symbol of evil and societal control, complete with Bruce Dickinson’s soaring vocals amplifying the dread. Their “Moonchild” weaves in the Whore of Babylon and fallen angels, blending biblical horror with occult elements for a narrative of birth and damnation. “The Writing on the Wall” draws from the Book of Daniel‘s story of Belshazzar‘s feast, where a divine hand writes a prophecy of doom on the wall, symbolizing inevitable judgment. Even “Revelations” incorporates the first verse of G.K. Chesterton‘s 1906 hymn “O God of Earth and Altar,” which itself is rooted in biblical pleas for divine guidance, adding a layer of traditional Christian devotion to the band’s heavy sound.

Christian metal bands often retell biblical stories with a focus on faith and triumph. The Showdown‘s album A Chorus of Obliteration features tracks like “A Monument Encased in Ash,” recounting the destruction of Sodom and Gomorrah from Genesis; “Epic: A Chorus of Obliteration,” inspired by the fall of Jericho in Joshua; “From the Mouth of Gath Comes Terror,” based on David and Goliath from 1 Samuel; and “Dagon Undone (The Reckoning),” drawing from Samson‘s tale in Judges. Amaseffer‘s Exodus – Slaves for Life narrates the full Exodus story up to the Hebrews’ release, using orchestral elements to heighten the biblical drama. Theocracy, an American Christian power metal band, offers songs like “Bethlehem” (Simeon meeting baby Jesus in Luke), “Altar to the Unknown God” (Paul’s speech in Acts), “Easter” (the empty tomb in the Gospels), and “The Master Storyteller” (a meta-reflection on the Bible itself). Other examples include Thrice‘s “Like Moths to Flame” (Peter’s denial in the Gospels) and “The Messenger” (Isaiah’s calling in the Old Testament), as well as Saviour Machine‘s operatic albums based on Revelation.

Secular bands also mine the Bible for metaphor and intensity. Def Leppard‘s “Rock of Ages” borrows its title and bombastic tone from a biblical hymn referencing God as a steadfast refuge (e.g., Psalms and Isaiah), fitting their 1980s glam metal excess. Dio‘s “Holy Diver” alludes to the Harrowing of Hell or Satan’s fall, drawing from New Testament apocrypha and Revelation. Lamb of God‘s “Reclamation” uses Revelation’s fire and end-of-world motifs to critique environmental collapse. Avatar‘s “Hail the Apocalypse” mirrors Revelation’s storms and sinking cities, while Manowar‘s “Revelation (Death’s Angel)” directly references Armageddon and trumpets of judgment. Black Label Society‘s “Doomsday Jesus” invokes the Horsemen and a savior amid decay, and Black Sabbath‘s “Children of the Grave” echoes Revelation’s call to resist empire. Judas Priest‘s “Blood Red Skies” draws on perseverance themes, and Saracen‘s “Horsemen of the Apocalypse” urges awakening against the riders. Megadeth‘s “Holy Wars… The Punishment Due” touches on religious conflicts, inspired by broader biblical warfare motifs.

Moving beyond the Bible, Hindu texts like the Vedas, Upanishads, and epics such as the Mahabharata provide fertile ground for “Vedic metal,” often portraying gods like Shiva in roles of creation and destruction. Rudra, pioneers from Singapore, infuse albums like Hymns from the Blazing Chariot with Vedic shlokas and mantras, celebrating Hindu philosophy through death metal growls and chants. Kartikeya, a Russian band, bases “Tandava” on Shiva’s cosmic dance that ends the Kali Yuga era, with lyrics like “Hark! I am Mahadeva, master of the universe” praising his forms as Nataraja and Pashupati. Their “He Who Carries the Head of Brahma” retells Shiva severing Brahma’s head, invoking names like Bhairav and Lingadhyakshasa in Sanskrit chants over thrash riffs. Dying Out Flame from Nepal delivers “Shiva Rudrastakam,” a Vedic death metal track rooted in ancient Sanskrit hymns to Shiva, blending brutality with transcendental wisdom from the Upanishads and Gita to evoke spiritual renewal. The Down Troddence‘s “Shiva” adapts the Shiva Tandava Stotram—attributed to Ravana—describing the god’s hair with the Ganga river and his fiery dance, using heavy bass to create a devotional trance. Persefone‘s Spiritual Migration album, especially “Returning to the Source,” draws on Hindu concepts of rebirth and enlightenment. Cult of Fire‘s मृत्यु का तापसी अनुध्यान explores death and asceticism from Hindu perspectives, while Rotting Christ‘s “Devadevam” is entirely in Sanskrit, featuring the Gayatri Mantra as a prayer to Shiva. Behemoth‘s The Apostasy and bands like Genocide Shrines also weave in Hindu lyrical influences, often portraying deities in demonic or empowering lights. Rob Favotto’s “Kali Ma” is an epic Hindu metal song celebrating the goddess Kali, blending international influences with themes of destruction and renewal. Bloodywood incorporates Indian folk metal with Punjabi elements, as in “Gaddaar,” touching on cultural and mythological motifs.

Buddhist texts inspire a niche but growing subgenre, where sutras and mantras are fused with death metal to promote enlightenment or social commentary. Taiwan’s Dharma band, founded by Jack Tung, uses classic Buddhist mantras in Sanskrit or Mandarin as lyrics, drawing from ancient sutras to blend with growling vocals and heavy riffs, aiming to spread Buddhist teachings through music. Their songs often serve as allegory for Taiwanese liberation, supported by Buddhist clergy who chant during performances. Japanese bands like Evil and Gokuraku Jodo touch on Buddhist themes fleetingly, with album art or lyrics evoking cosmology. Indian band Gautam draws from Buddhist concepts, while Chinese band Yaksa‘s “Xiangmo zhou” incorporates mantras for a unique fusion. Stoner metal band OM uses meditative drones echoing sutras, emphasizing spiritual quests.

For Islamic texts like the Quran, direct positive adaptations are rare in rock and metal due to regional restrictions and the genre’s rebellious ethos. Saudi band Al-Namrood uses Arabic scales and lyrics critical of religious tyranny, drawing from pre-Islamic jinn and tales like One Thousand and One Nights rather than quoting the Quran, to protest sharia’s constraints. Indonesian bands like Purgatory and Tengkorak form part of an “Islamic metal” scene, with lyrics revolving around faith and social issues, though often more interpretive than textual. Muslim metal and punk lists include Hizjrah‘s In God We Trust and Latahzan’s Islamic Death Metal, focusing on Islamic mythology and ideology. This scarcity highlights cultural debates, as metal’s anti-authority stance clashes with conservative interpretations of Islam.

Norse religious texts, particularly the Poetic Edda and Prose Edda, underpin Viking metal, emphasizing paganism and Viking Age sagas. Bathory‘s Hammerheart is a concept album devoted to Vikings, shifting from Satanic to Norse mythological themes. Enslaved‘s Hordanes Land and Vikingligr Veldi retell Norwegian legends with folk melodies, while “793 (Slaget Om Lindisfarne)” celebrates the Viking raid on Lindisfarne. Burzum echoes the Hávamál from the Poetic Edda in pagan themes. Einherjer‘s artwork draws from Thor’s hammers and sagas. Amon Amarth retells brutal Norse legends across their catalog, including battles from the Eddas. Tyr‘s “Prophecy of Ragnarok” and “Yggdrasil” invoke apocalyptic myths and the world tree from the Eddas. Skáld‘s “Rún” draws from runic magic in Norse texts. Disembodied Tyrant & Synestia‘s “The Poetic Edda” directly adapts verses from the Edda.

Ancient Egyptian texts, especially the Book of the Dead, inspire occult-tinged death metal. Nile‘s “Chapter of Obeisance Before Giving Breath to the Inert One in the Presence of the Crescent Shaped Horns” references spells from the Book of the Dead, evoking funerary rites. Their album What Should Not Be Unearthed echoes propaganda texts but ties to the Book’s themes. Septicflesh‘s “Anubis” draws from Egyptian mythology, including the god of the afterlife. Nemuer‘s “Gates of Duat” brings spells from the Book of the Dead to life. Third Ear Band‘s “Egyptian Book of the Dead” directly titles and themes from the text.

Taoist and Confucian texts influence Chinese metal through “hermit aesthetics,” balancing withdrawal (Daoism) and societal engagement (Confucianism). Zuriaake‘s music and lyrics embody these philosophies, using imagery of retreat and morality without specific songs named. Other Chinese bands fuse traditional culture with metal, drawing on Daoist introspection.

Sikh scriptures appear in rock fusions, as with Malaysian band Anhad‘s tracks like “Mangla Charan” (verses before kirtan), “Ardas Bhaee” (prayer mantra), “Ik Ongkar” (core Sikh chant), and “Pavan Guru” (shabad rendition), blending rock with devotional elements.

For the Book of Mormon, adaptations are limited but include metal covers of LDS hymns, such as “Praise to the Man” in heavy style, and Nashville Tribute Band’s songs like “I Am a Book” dedicated to the text.

Album Release Amid Growth and Change

• The band launched their fourteenth studio album, The Screaming of the Valkyries, on March 21, 2025, via Napalm Records. It features new members Donny Burbage (guitar) and Zoe Marie Federoff (keyboards, vocals), while guitarist Marek “Ashok” Šmerda makes his final appearance.
• Frontman Dani Filth described the album as their “next stage of evolutionary sound,” blending classic and modern elements with theatrical intensity.

Mid-Tour Departures Spur Public Fallout

• Zoe Marie Federoff abruptly exited mid-tour in South America, initially citing “personal reasons.” She later clarified that she and her husband, Ashok, had already planned their departure and denied rumors about personal infidelity.
• Marek “Ashok” Šmerda confirmed his intention to leave at tour’s end, citing “low pay,” “stress,” and unprofessional treatment by band leadership. He also requested removal of his contributions—including from a forthcoming Ed Sheeran collaboration.
• Tensions escalated when Cradle of Filth officially fired Ashok before the tour concluded. Frontman Dani Filth urged fans to disregard “false speculations,” promising to continue performances with a single guitarist until a replacement arrives.

Ongoing Challenges and Reputation at Risk

• These departures have thrust Cradle of Filth into an unprecedented public reckoning. Fans and media scrutinize now-public statements describing hostile working environments, financial exploitation, and emotional strain.
• In the absence of key members, the band pressed on with their Latin American tour, supported by temporary vocalist/keyboardist Kelsey Peters, while the future of planned collaborations remains uncertain.

Band Enables Forward Momentum

• Despite turbulence, Dani Filth affirmed on the band’s official channels that Cradle of Filth would continue touring and deliver on upcoming dates in Europe and beyond, promising fans a renewed focus and clarity moving forward.

Sources: Cradle of Filth (Official), Blabbermouth.net, Loudwire, Consequence, Metal Injection, Dark Divas, Bluntmag, BraveWords, and WikiPedia.

Morean was kind enough to answer questions about the band, his vision as both a composer and guitarist, science as well as the documentary about his piece, ‘Schattenspiel’.

• Hello Morean, first of all congratulations on finishing what (in my humble opinion), represents some of the finest work in modern metal. The Malkuth Grimoire has been moving some serious air – it is just that extreme. When you first joined Alkaloid, did you think that you would be pushing the genre so authoritatively?

Thanks a ton! Based on past experiences with, for example Noneuclid, I try not to expect too much of a reaction to new bands and projects that I’m part of, so it’s really nice to be surprised like this by all the attention Alkaloid have been getting. Artistically, of course we set out to push the bar for ourselves, but it’s not like we sat down consciously to make it extreme. It happened because what you hear on the album was just what each of us needed to say. So the broad pallet of styles and influences just came about naturally, because that’s what makes us tick as musicians, not because we wanted to be avant-garde or anything. As a composer, you always have to create what you believe in, regardless of how the world will react to it, and in this case we are lucky that what came out resonates with our audience. A main reason to set up this band was exactly to have the greatest possible artistic freedom, and we just used that to its full extent.

• You previously mentioned that no record labels were interested in signing Alkaloid. Were you surprised at all by this? Do you think it had something to do with how busy everyone was in the band, so you couldn’t be taken as a serious project?

No, I think it’s more the fact that we still had to make a name for ourselves. Labels are struggling to survive, and many of them don’t take any risks with new bands, all the more if they are hard to categorize like we are. If a bigger band with an established name had released these songs, it might have been different.

• Your Indiegogo crowdfunding campaign was very successful. Did the amount of money (19,000 euros) you receive surprise you? Or did you guys expect to receive that much?

We were all very surprised, definitely! We just hoped to be able to make this album as good as possible, and the money that came in through Indiegogo allowed us to do exactly that. It all went into studio bills and the artwork – a lot of time and effort went into this album. Seeing how well this campaign worked out for us gives us a lot of hope and motivation for the future, and we are eternally grateful to all the people that made this possible!

• Hannes mentioned that some of the Indiegogo money would go towards funding music videos, are you at liberty to mention any candidates?

We are currently looking into options for a clip; there are a few candidates and we like all the songs of course, but what song we’ll choose will largely depend on what is possible to shoot. So I keep it vague for the moment, because anything I say here might change 5 minutes later.

• Dyson Sphere fuses progressive rock with death metal very nicely. What motivated you to write it like that?

It all came from the story and lyrics actually; every line of text demanded a certain musical response, and that led to this wild oscillation between moods and styles. In the second movement, Assembly, there was one concrete influence – I had just started composing it when Manu Chao performed a stone’s throw from my house. I came back from the show with all these reggae beats in my head, and before I knew it, I was writing something that could be called death metal reggae. Without this random Manu Chao show, that piece would never have sounded like this.

• The Alkaloid record clocks at over 70 minutes of music. Were you guys concerned that the depth and length of the music would dissuade potential listeners?

Yes, somewhat. It was difficult to choose what would and what wouldn’t make it onto the album, since we had enough songs to fill three albums actually. We knew it’s all a bit too much for one album really, but at the same time we are so excited about each song on there that we didn’t want to skip any of them. You also see in the many reviews we receive that everyone seems to have different favorites – this confirms for us that it was a good idea not to sacrifice any of the songs in order to make the album shorter. Sure, it’s a lot to digest, but to us, the album makes sense like this a whole, and we were confident it wouldn’t get boring since the songs are so different from each other. It was important to us to present ourselves with as rich an album if possible, and for those who find it too long, there’s the skip-button, right?

• You have a degree in Composition, but your guitar work with Alkaloid and Noneuclid is at a very high level – Do you consider yourself a composer first/guitarist second, or how does that work for you?

I’m mainly a composer, and have been for many years. Performing live on guitar and / or vocals remains an essential part of being a musician for me, but my reality is 80% composing, 20% performing. Between my classical work and all the bands, I don’t play nearly as much guitar anymore as I used to, and that pains me sometimes, but at the same time I’ve been very fortunate as a composer to have so much work. I guess I was always better at writing than at playing, and life happened accordingly. These days, I do feel a bit like a caveman at first every time I pick up the guitar again after months of not playing a single note of course, but I have no complaints that things went like this.

• As a guitarist, you have a very distinguishable style and tone, not just on The Malkuth Grimoire but also with Noneuclid and Obscura. What influenced you to have that alien tone and very unique style of play?

I guess the search for something to say that hasn’t been said a million times over by others. This was the main focus in my composition studies as well; you do pick up a lot of techniques that others have invented along the road, but the much more important (and much more difficult) part is finding your own voice. I guess this principle translated naturally from my writing into my playing in the course of the years. Given enough time to practice, I can shred in a traditional way if I put my mind to it, but I will never be as good in it as others are, and with Christian and Danny we have two world-class guitar shred monsters in the band already. It wouldn’t add much if I tried to do the same and failed, so I prefer to add my own spice always – even if, initially, that also came out of admiration for players like Trey Azagthoth whose playing you can recognize after 2 beats, and in that, my influences are pretty obvious in a track like Cthulhu for example.

• On that issue – many guitarists, however skilled, struggle with carving their own sound – What would your advice be to those players?

Look at everything you’re doing, then pick out the very best or most exciting elements of that, and focus on developing those as rigorously as possible. For example, if you compose a solo, and one bar in particular excites you more than the rest, try and base the entire solo on that idea and develop that as far as you can. The same is true for songwriting. Creation usually starts with a sort of brainstorming phase, where a lot of different ideas land on the table; the selection process that happens after is what gives rise to your own style. You are, after all, the choices you make, in music as much as in life itself. It’s good to go over your things several times like that, because with every decision you make to keep some things and get rid of others, you come a step closer to your unique voice. Art almost always starts from imitating others, but that’s just a first step, and focusing your energy on sounding like someone else is usually a gigantic waste of time. I mean, nobody will ever be better at being Yngwie Malmsteen than Yngwie Malmsteen, and conversely, nobody will ever be better at being you than you. It’s good to try and see where you are standing compared to others, but when you create, you should not think at all about what others do and how you measure up to that. Nothing new was ever created with everyone else’s work in mind – that just holds you back and makes you insecure.

• You use B.C Rich Guitars and Fractal AxeFX gear quite a bit – Do you ever seek official support from any of these companies?

As far as I know, Fractal doesn’t endorse musicians, and so far, none of the bands I played guitar in was big enough to attract attention from guitar companies. If it happened now with Alkaloid and BC Rich guitars tho, I’d be very happy. Maybe the time has come to write to them. I’d be very proud to endorse them – BC Rich USA is one of the very few remaining guitar companies that still build their instruments by hand, and as a player, I do feel the difference in those instruments compared to machine-made instruments. The latter may be “perfect” on the surface, but very often lack the soul and character that a handmade instrument automatically possesses, and that translates directly to what and how you play, at least to me.

• According to your Wikipedia page, you had previously auditioned for the Morbid Angel guitarist spot. How was that entire process for you?

Morbid Angel has been one of my favorite bands for a long time, and I just had to try when they announced the audition. I didn’t expect anything from it, so I was very surprised to receive a call from David Vincent after the first selection rounds. I had like 3 days to learn and record a video of me playing ‘Rapture’ and ‘Pain Divine’, and for the last round they asked the remaining candidates to play and record as much of their live album as possible. So I did almost all the other songs off that album in the week after, until my hands bled, and sent them videos again. At the end they decided for Thor, and very deservedly so, he’s a monster musician. I didn’t get to meet the band in the flesh unfortunately, all went through videos and email, but it’s definitely a huge feather in my cap that they would even consider me. I’m very proud of that, even though I didn’t get the job.

• You have close ties to technical death superstars Obscura. Did you ever consider joining them as a guitarist when a spot became available?

No, because we were already very busy with Alkaloid behind the scenes and I have too many bands already. I consider myself a rhythm guitarist, despite the occasional solo I play, and anyway, I could never have taken over the huge shredding heritage of Christian Münzner. In terms of musical style and also on a personal level, it would be fantastic to perform with Obscura, we have been good friends for many years and I have enormous respect for them and what they have achieved. But I think they deserve a lead guitarist who can really focus on Obscura‘s demands, and even if I had the level of playing required, I would not be able to do that with everything else on my plate demanding attention as well. I think Fountainhead is a fabulous choice for the job; he’s a unique player and a very cool dude as well. I’m extremely curious to hear what they’re gonna come up with on the next album.

• Recently the Dutch channel (NTR) filmed a documentary about your childhood, classical composition and metal music – how was that entire experience for you?

I guess those were my 50 (in this case) minutes of fame! For now, anyway…. I’ve been at it for a while here in the Netherlands, and there were other, smaller documentaries about my work made in Holland here and there, but to be exposed in such depth and on national TV was of course an incredible honor. I love the programs these guys make, and it was incredible how much effort they put into the documentary – traveling with a camera team all the way to my home town, to Santura’s studio, my old rehearsal room, even interviewing my grandmother. I couldn’t be happier about how it turned out, and it’s cool to get to show people a peek into the composer’s kitchen. A lot of work, thought and effort goes into my music, and it’s really cool to get to show some of that as well besides the sounding musical result.

• What are some modern bands do you listen to at the moment?

Lately, what has been on heavy rotation is Lord Mantis from Chicago (unfortunately disbanded recently), Swans from New York with their fabulous new album, and Steven Wilson – I don’t like everything he does, but Insurgents is a contender for the album of the decade for me. I also got into the whole sludge-thing more; not heavily at all, but bands like Yob or Indian did impress me when I saw them live. Another band I respect a lot are Portal from Australia – that’s some of the best black metal out there. But I don’t get to listen to and discover nearly as much new music and bands as I’d like to, I have to say. That’s one down side of making music all day long, every day. There’s a limit to how much music one can absorb, and that space tends to fill up with your own stuff before you realise it.

• This might be a big question – What are some classical music pieces that you really think metalheads can/should listen to?

Oh, that’s easy, because especially the 20th century offers a lot of very dark and creepy classical pieces and composers. To start with, I recommend:

Igor Stravinsky – The Rite of Spring
Krzysztof Penderecki – Polymorphy
György Ligeti – Atmosphères
John Oswald – Spectre
Pierre Boulez – Repons
Dmitri Shostakovich – anything really, but especially String Quartet #8 and the symphonies
Béla Bartók – Music for Strings, Percussion and Celesta
Alexander Scriabin – Vers la Flamme & Poème de l’Extase
John Leifs – Hekla
Matthew Hindsen – Death Stench

• You are very fascinated by popular scientists like Carl Sagan and Freeman Dyson. What is it about the observable universe that intrigues you so much? Any other big scientists whose work you enjoy reading?

Coming actually more from a spiritual / occult background, I have to say I find the mysteries of the real world increasingly fascinating. I’m an escapist at heart, and I’ve always mainly been busy with alternative realities to the one we know. This is part of an artist’s job – showing things and worlds that were not there before. But I admit that, in the past, I had underestimated the magic that so-called reality has to offer, and my problem with the occult at this point is that there’s still a vast degree of cheap symbolism, unquestioned assumptions and plain random bullshit clouding the very real and relevant core of the matter. After more than a century after the discovery of quantum mechanics, it seems science is starting to open up to the empirical investigation of ideas and concepts now that traditionally belonged more in the spiritual or psychological realm. Only last night, I saw an episode of ‘Through the Wormhole’ on Discovery Channel in which telepathy; morphic fields and the so-called sixth sense are examined in a scientific light. These things have been obvious for a long time to anyone who has experienced them in practice, so for the rest of the world, it’s nothing new really, but the advantage of science’s take on them is that we can see these phenomena as part of the natural world and its laws, rather than a matter of mere belief and auto-suggestion (aka “bullshit” in the eyes of science), and strip them of the manipulative mumbo-jumbo and superstition pertaining to the realm of religion and see them for what they are. Science might be as block-headed as religion at times when it comes to accepting the existence of things outside its traditional canon, but at least in science, there’s a tradition of admitting a mistake and correcting the paradigm according to the facts we can observe. There is no pretense of infallibility like in religion and spirituality.

In occultism, I also prefer the more modern writers like Peter J Carroll or Phil Hine who try to see “magick” as a school of psychic engineering, rather than a random set of variations on old superstitions. Luckily, as an artist, you don’t have the obligation of objectivity like in science, and I find a great deal of inspiration in trying to wrap my (very amateurish) head around exciting new scientific ideas and let them spark the creation of artistic visions.

But even more impressive than mere ideas and interpretations of the laws of nature, I must say I find nature itself: standing on top of a mountain or watching the refraction of light on the waves of the ocean, even just the complex arrangement of leaves on a tree or bathing in the light of the milky way on a clear night, fills me with an overwhelming sense of beauty and belonging that makes any artificially created god or demon and their subsequent rituals redundant. I spent many years sifting through my own and other people’s fictional universes, and always loved it, but I have to say no apocalyptic vision of any magic book can compete with the visions of for example Stephen Baxter, whose hard science fiction departs always from what is real, and tries to think those things through to their most extreme extents. (Check out his Manifold series for example.) It takes great minds to do that – and considering how little we still know about the world around us, this school of thought is bound to entertain us for many years to come.

• Last question – We are all hoping to see Alkaloid on the road. Does Alkaloid have any tour plans materializing?

We are working on it at the moment. It’s gonna be a whole new chapter in our young history, and like with the album, we want to do it right. It’s never gonna be easy, what with all the other bands we’re engaged in, and we inherit the same problem these other bands also all have, which is to find the time and resources to get together and do stuff in a genre that lets its artists starve completely. But we founded Alkaloid as a real band, and are way to excited about what we’ve been doing to not try and play this stuff live on a regular basis. Hopefully, we can take the step onto the stages of the world very soon. It is a distinct goal of us to play as many concerts as possible in the future.

Edited by: NJ Bakr

1. Richard Wagner

Sorry guys! But Wagner beat them all indeed! Currently, most of the researches and rock historians call him “Father of Metal Music”. Well, we do not have much to say, check this out…

Bands like: Pink Floyd, King Crimson, Manowar, Savatage, Therion, Glenn Danzig, Apocalyptica, Dimmu Borgir and Rammstein.

2. Ludwig van Beethoven

He is awesome of course! And we all have seen many tributes done by many artists and bands, such as: Yngwie Malmsteen,The Great Kat,Savatage, Trans-Siberian Orchestra, Rahowa, Rainbow, Quartz, Apocalyptica, Accept, Theatres des Vampires, Necrophagist, Tourniquet, Lacuna Coil, Viper, Kevin James LaBrie, Dragonland, Dark Moor, Serenity, Eddie Van Halen, Michał Jelonek, Muse, Iris, and many others.

3. Johann Sebastian Bach

Bach is known with his various compositions for organ, orchestral, chamber music, choral, and many other works. He was a big influential for many rock and metal musicians such as Richie Blackmore, Yngwie Malmsteen, Sebastian Bach,Rahowa, Suspyre, and Randy Rhoads. In addition to that, Bach was one of the inspirations in Symphony X’s third album The Divine Wings of Tragedy. 

 

4. Wolfgang Amadeus Mozart

The influence of all! He has been an influence and a mentor for many great composers like Beethoven and Tchaikovsky. Besides that he has a huge impact over heavy metal and rock artists, bands and artists whom tribute and were influenced by his works are: Accept, Savatage, Therion, Evanescence, Scatterbrain (Thrash band), Simone Simons from Epica, Amy Lee, Extreme, Rahowa, Tarja Turunen, Suspyre, and George Lynch.

5. Antonio Vivaldi

The master of the Four Seasons! He got many rock and metal inspired bands and artists like: Children Of Bodom, Dark Moor, Ritchie Blackmore, Marty Friedman, Jason Becker, Uli Jon Roth, Eddie Van Halen, Randy Rhoads, Douglas R. Docker, Richard Andersson, Extreme and Yngwie Malmsteen.

6. Igor Stravinsky

Stravinsky (also Strawinsky) is a Russian composer, pianist and conductor. His works were influenced bands and artists like: YES, Devin Townsend and Merlin.

7. Pyotr Tchaikovsky

The famous Russian composer had many tributes from many artists around the world. Many rock/metal artists and bands were inspired by his works, such as: Accept, Muse, Emerson Burton from HIM, Jonny Maudling, X Japan, Dark Moor and The Move.

8. Gustavus Theodore von Holst

Holst is a famous English composer, arranger and instructor. He has a big influence on Black Sabbath, Diamond Head, Nile, Symphony X, King Crimson and Led Zeppelin.

9. Niccolò Paganini

This Italian violinist, violist, guitarist, and composer had a big influence on artists like: Timo Tolkki, Richard Andersson, Michael Romeo, Yngwie Malmsteen, Jason Becker, The Great Kat. The influence has also reached bands like: Angra (Brazilian power metal band), Ulytau (Folk metal band from Kazakhstan), Spelled Moon (American Heavy Metal) and Venturia (French progressive metal band)

10. Béla Bartók

Bartók is a Hungarian composer and pianist. Artists and bands who got inspired by him are: Voivod, Roger Miller and Jeff Buckley.

Edited by: Duha Moussa

After all these years, I realized that I am fond of the Egyptian artists and bands as I am fond of international legends as well. So, I wanted to share with you which bands that I really miss nowadays.

1. Endangered

An Alexandrian band that really affected my taste and got me more interested – and understand- Alternative rock. Their songs weren’t even up to 10 songs, but each one reminded me of the well-known legends; especially Guns N’ Roses.

2. Odious

One of the few old black metal bands, that were actually alive till recently! Formed in 1998 in Alexandria, the band released their only album in 2007. Yes, 7 years ago! With only 2 members left in the band; we’re really not sure if they’re gonna make any statements this year. Let’s hope for the best.

• UPDATE – The band returns after along hiatus and released Skin Age (2015) and Equilibrium Tool (2024)

3. Vybe

A funk-pop band? In Egypt? Yes, we had them once, and boy! They were hell of a band! They were a cool mix of Latin, Soul tracks and they were fun to watch! They had a huge mix of influences starting from Joe Satriani, all the way to Micheal Jackson. It’s too bad they aren’t active anymore.

4. DaVinCi 

They aren’t like any other rock band you know. The band was seeking diversity in each song, and they actually achieved that. More than 10 rockin’ songs that helped them rock outside Egypt as well. They won prizes for their contribution in music. Of course, they are one of the un-forgettable ones.

5. Idlemind

Those were one of the few bands who got me really interested in the Egyptian music scene. When I first saw them on stage, I thought “Hey, we do have good musicians out there!” I remember almost attending every concert they had, and it broke my heart to know they weren’t performing anymore.

6. Promised Dawn

People familiar with this band, are musicians and music fans who were following the scene before 2003. The band announced two years ago to continue their career after splitting-up few years ago. The most well-known song for the band was Jerusalem which demonstrates the lives of Palestinians and how the Israeli troops affected their lives, or even taking it most of the times. I remember that the music video of this song aired on Nile TV International and one of Nile Network Channels.

7. Kravin

Okay, I’m sure you’ve heard the band at least once before they split-up. The news were devastating to every Rock’N’Roll fan out there, cause they really gave a soul to their show. They were really nice to watch and we can’t help but hoping for another band to revive Rock’N’Roll from the ashes.

8. The Artificial Flavor

I remember seeing this band once and I was really fascinated with the nice front lady – we don’t have much of them, you know? – They had a different flavor to bands we are used to listening such as “Scorpions” and “AC/DC”, and of course, adding their touch to their own originals.

9. Instrumental Therapy 

Yes, music is therapy. I agree. Ayman Khalifa started his project Instrumental Therapy with a couple of other talented musicians, and they really put on a great show and a beautiful musical experience every time they are on stage. It’s unknown why they stopped, but if you miss some of those riffs, make sure you check Ayman Khalifa’s page; He throws solo musical events every now and then!

10. Thrashenizer

When Tamer Samadoni started to create a new band after Endangered he made this speed/thrash metal band. Thrashenizer are recognized with many songs and having many musicians from Cairo and Alexandria joining. The band is currently inactive but they still are remembered as the first Thrash – unique – metal band in Egypt.

– The article has been edited and polished by NJ Bakr.