Orphaned Land – Unsung Prophets & Dead Messiahs

Origin : Israel

Genre : Folk / Death metal

Release : 2018

Album downloads only available to members

Album Info / Review

Intro:
Orphaned Land, the Israeli purveyors of Oriental metal, return with “Unsung Prophets & Dead Messiahs,” an album that not only solidifies their signature blend of heavy riffs and Middle Eastern instrumentation but also pushes their thematic and sonic boundaries. This is not merely a collection of songs; it is a meticulously crafted sonic tapestry woven with threads of socio-political commentary, ancient mysticism, and raw, unadulterated metal aggression. From the opening salvo, the listener is plunged into a world where the desert winds carry tales of forgotten heroes and the echoes of conflict resonate through intricate melodies. The band’s established ability to fuse disparate musical elements into a cohesive and impactful whole is on full display, creating an experience that is both challenging and deeply rewarding.

Track Analysis:
“The Truth Might Lie” immediately assaults the senses with a driving, almost thrash-like riff, quickly punctuated by Kobi Farag’s guttural growls. However, this ferocity is expertly juxtaposed with the mournful cry of a kemenche, creating a disorienting yet compelling introduction. The track builds with a sense of urgency, its tempo shifts mirroring the lyrical narrative of searching for answers in a world steeped in deception.

“Changing Wild” introduces a more melodic sensibility, with Yossi Sassi’s signature acoustic guitar work taking center stage in the intro. The clean vocals of Kobi Farag soar over a foundation of heavy, chugging guitars, showcasing the band’s masterful dynamic range. The addition of a traditional Arabic flute adds an ethereal layer, evoking images of vast, open landscapes.

“Brother” is a powerful ballad, driven by a poignant piano melody and Farag’s emotionally charged clean vocals. The lyrical themes of brotherhood and shared struggle are amplified by the understated power of the instrumentation, which swells gradually to a cathartic crescendo. The subtle inclusion of a bouzouki provides a delicate counterpoint to the raw emotion of the vocals.

“Escalation” brings back the full metal onslaught. The riffs are crushing, the drumming precise and thunderous. This track feels like a direct sonic representation of conflict, with dissonant guitar harmonies and aggressive vocalizations. A brief, almost jarring, instrumental interlude featuring a darbuka solo adds an unexpected rhythmic complexity before the song returns to its heavy, driving core.

“The Manifest” is a sprawling epic, clocking in at over seven minutes. It traverses a vast sonic landscape, from crushing, doom-laden passages to moments of soaring melodicism. The song features guest vocals from prominent metal figures, each contributing their unique flavor to the narrative. The interplay between the heavy metal instrumentation and the traditional Middle Eastern instruments is at its most intricate here, with interwoven melodies and rhythmic patterns.

“Chains of a False Messiah” is a more direct and aggressive track, characterized by a relentless pace and venomous vocal delivery. The guitar solos are sharp and technically proficient, cutting through the dense instrumentation like a blade. The lyrical themes of disillusionment and the dangers of blind faith are palpable in the song’s urgent and confrontational tone.

“We Do Not Exist” stands out for its haunting atmosphere. The use of atmospheric synths and sparse, percussive elements creates a sense of unease. The vocal performance is more restrained, conveying a sense of profound sadness and existential questioning. The subtle inclusion of a ney flute adds to the melancholic mood.

“The Light That Blinds” is a return to the band’s more melodic and anthemic tendencies. The chorus is incredibly catchy, yet retains the album’s underlying thematic weight. The guitar work is intricate, with layered harmonies and soaring leads. The oriental scales are seamlessly integrated, adding a unique flavor to the otherwise classic metal structure.

“The World Is Ours” is a powerful statement, a call to arms disguised as a metal anthem. The energy is infectious, driven by a driving bassline and powerful drumming. The vocal performances are strong and commanding, conveying a sense of unity and defiance. The track culminates in a massive, singalong chorus that is both uplifting and defiant.

“Dead Messiahs” closes the album with a sense of grim finality. The music is heavy and brooding, with a sense of impending doom. The vocal delivery is raw and desperate, reflecting the lyrical themes of loss and disillusionment. The album ends not with a bang, but with a lingering, haunting resonance, leaving the listener to contemplate the unresolved issues presented throughout the record.

Conclusion:
“Unsung Prophets & Dead Messiahs” is a monumental achievement for Orphaned Land. It is an album that demands attention, both musically and thematically. The band has managed to refine their already distinctive sound, injecting a new level of sonic depth and emotional resonance. The intricate fusion of heavy metal with traditional Middle Eastern instrumentation is executed with unparalleled skill, creating a soundscape that is both familiar and utterly unique. This is an album that transcends genre, offering a profound and thought-provoking listening experience that will resonate long after the final notes fade.