Arallu – En Olam (re-phrase) Review

Before we dive into the review, let’s take a fresh look at Arallu and their album, En Olam. Originally penned in 2020, the initial review can still be found here. I thought it would be refreshing to reimagine some older reviews in a more modern style, making them more significant and detailed, like the reviews that are showcased now.

The moment the listener hits the play button, they are welcomed by The Center of the Unknown, which envelops them in an enchanting Arabian soundscape. This is complemented by a powerful blend of metal instrumentals and vocals that strike deep into the soul.

As the audience embarks on their exploration of the second track, En Olam, along with the other eight songs, they are immersed in a rich tapestry of lyrical themes. This collection navigates through the realms of war, mortality, Mesopotamian legends, critiques of religion and politics, existential dilemmas, apocalyptic imagery, and spiritual emptiness. Songs such as Achrit Ha’yamim (End of Days) and Prophet’s Path delve into these profound ideas, merging fierce metal with traditional melodies to craft a narrative that is both eerie and reflective.

Arallu‘s album En Olam is a whirlwind of sound, featuring ten tracks that span thirty-eight minutes. It offers listeners more than just extreme metal; it immerses them in the band’s rich heritage, conflicts, and mythology. The name Arallu, or Irkalla, refers to the ancient Mesopotamian underworld, governed by Ereshkigal, the queen of the dead. This realm is a dark, dusty, and silent void where all souls journey after death, devoid of the rewards or punishments found in contemporary concepts of heaven and hell. The album also weaves in traditional Middle Eastern instruments such as the Saz, Darbuka, and Baglama.

Arallu‘s music delivers an intense and aggressive experience to the listener through its meticulously crafted composition and arrangement—whether it be through the striking instrumentation or the powerful musical elements. All of which are skilfully provided by this enigmatic fruit of the dark arts. The way in which the composition is encapsulated within the modern metal production gives it a distinctive edge—a roughness that isn’t overly polished. This allows for a sonic landscape that feels gritty, weighty, and unapologetically raw with its understated layers. It’s a sophisticated fusion of various ethnic influences seamlessly intertwined, offering a balance of clarity and raw intensity that doesn’t compromise on its primal essence.

En Olam features a dynamic instrumental composition and intricate scoring, showcasing a guitar sound that is raw, mid-scooped, and heavily buzz-saw influenced. It evokes the classic vibes of Mayhem or Darkthrone, yet incorporates groovy, riff-driven segments reminiscent of early Sepultura and the Eastern Folk Metal influences of Melechesh. The guitar work includes tremolo-picked black metal sequences and thrash-inspired chugs, interspersed with occasional Eastern scales and melodic embellishments. The bass lines are gritty and distorted, delivering a filthy low end that doesn’t merely shadow the guitar; instead, it introduces rhythmic tension, crafting a tribal essence.
 
The drumming combines explosive blast beats, driving d-beats, and tribal rhythms alongside Middle Eastern percussion. The patterns shift between classic black metal intensity and folk-inspired time signatures. The vocals feature harsh black/death growls and piercing shrieks, with Butchered delivery being predominantly guttural, arid, and fierce, often enhanced with layers or echoes to enrich the ambiance. In addition to the metal instrumentation, En Olam incorporates tracks with samples of Hebrew and Arabic speech or chanting, utilizing effects like reverb and delay to evoke a ceremonial or apocalyptic feel.
 
At times, the work incorporates field recordings, spoken word, and ritualistic chants, all blended in a lo-fi style to create a tense and ethereal atmosphere while also connecting themes beyond mere pacing. The Middle Eastern instrumentals are not mere gimmicks; they are integral to the songwriting, typically serving as the emotional backbone of each song. The instrumentation features the Darbuka, a hand drum that produces hypnotic and powerful rhythms, alongside the Saz/Baglama, a string instrument that evokes haunting, ancient melodies.

The Oud, a lute with a short neck, serves as a bridge for interludes and introductions, while the Ney, akin to a flute, creates an atmospheric backdrop. Arallu intricately incorporates the Saz, oud, Darbuka, and various traditional instruments throughout their music, not merely as introductions. These instruments are usually recorded with a dry mic setup, avoiding excessive reverb, and occasionally captured live, preserving their raw imperfections—infusing the sound with a sense of humanity and antiquity. Achieving the right balance is crucial: the ethnic elements remain prominent without overshadowing the metal.

Overall, Arallu and their album, are more than music; it’s a statement—music that is deliberately raw, “making you feel the dust of war.” “Culturally honest,” “Middle Eastern instruments are mixed with respect, not as exotic flair and thematic” and “every production choice supports their atmosphere of myth, violence, and apocalypse.”

The album culminates with the last track, Spells, as the sandstorm calms, yet the echoes of war and conflict resonate far beyond the horizon. We want to give a shoutout to Arallu for letting us review their En Olam album, back in 2020. Now, we’re going to wrap it up by talking about the final three sins and concluding the review.