I rated Arkan’s 2008 work “Hilal” as my album of the year. Arkan are based in Paris and are of North African origin. “Hilal” (“Crescent”, in other words the symbol of a mosque) combined Death Metal violence and melody with Arabic sounds. The result was an amazingly powerful and exotic mix.
“Salam” (“Peace” in Arabic) takes us on a different type of epic journey. The first thing we hear are the strains of the oud, the Arabic guitar. We hear a lot of the oud on “Salam”. The rich Arabic sound merges into controlled melodic Death Metal and harsh vocals. A sinister distorted voice occasionally emerges in the background, but in terms of input, the most noticeable addition is the inclusion of the clear vocals of Sarah Layssac. Her voice is like that of Tristania’s Mariangela Demurtas and works nicely to the ebb and flow of the Arabic sound. Credit is due to the producer, Fredrik Nordström, also behind Dimmu Borgir and In Flames, for bringing it all together and managing to merge the ethnic and Metal elements of this work.
The compositions of “Salam” are generally shaped so that the Death Metal takes more of a back seat than on “Hilal”. “Salam” comes from a different angle from the previous one (peace as opposed to war) and it's the ethnic element which leads into the Death Metal rather than the other way round. The intense Metal sections attach themselves to the exotic framework and provide a powerful punch. Overall, the range of sounds and moods is impressive. It’s not just about a combination of ethnic sounds and heaviness. “Deus Vult”, which features Kobi Farhi of the Israeli band Orphaned Land, has a distinctly Darkwave atmosphere. Dreamy and mystical male vocals combine with the sharp guitar work and deathly growls. The mix is potent. As this haunting track goes quieter, raw Death Metal creeps in and takes over. “Blind Devotion”, which follows, is the music of exotic dancing. The ethnic instruments and mysterious vocals make this track haunting, smooth and silky but with Metal guitar work providing counterbalancing power and violence. “Jerusalem – Sufferpolis” is similarly powerful and epic. There’s a good melodic guitar riff but it’s Sarah’s vocals and measured calmness which make it gripping. This is new territory for Arkan, who develop this new sound further yet with “Beyond Sacred Rules”. The oud player emits a jolly sound and fills the air with magic. Sarah’s vocals float through the air in time and in keeping with the mystic atmosphere of the music. The chorus is from the heavens and yet it’s powerful and there’s an epic finality. Each track brings its own delight and the short “Common Ground” has the air of music from an exotic dance or ceremony. “Sweet Opium” then mixes the Death Metal sound and vocals with Sarah’s voice which sweeps hauntingly across the dark background. Undoubtedly, a reason why this combination works so well is that the Metal element of Arkan’s music is so pure.
If I have been knocked out by what has gone so far, “Call from Within” takes this album to an even higher plane. The rhythm of this deep and moody track stays with me. The oud once again provides the backdrop. Melancholic sadness envelops Sarah’s voice. It’s slow and calm and so far it is comfortable and comforting, but the tone changes to something more expansive and dangerous. The electric guitar comes in and adds further colour and feeling to this already kaleidoscopic track. After another short guitar interlude, we return to the belligerence of “The Eight Doors of Jannah”. We’ve not heard the Death Metal for a while, so there’s more impact and it goes very dark. A guitar solo cuts in. The mix of sweet vocals and harsh growls is once again very effective. “The Eight Doors of Jannah” is a great song and has a superb flow.
I confess that I’ve never liked “secret tracks” and there’s one here on the final piece “Amaloun Jadid II”. It’s testimony to this great album that not once have I stopped playing it after the first section. The track starts with a short acoustic section. It’s quiet and calm, and it may be short but it still conjures up the image of a hot sunny day. In fact it reminds me of April Ethereal’s “Al Azif” and in particular the acoustic part of a track called “The Shadow of Nyarlathotep”. A gap of 10 minutes or more follows. Each time I have played “Amaloun Jadid II”, I have taken the time to reflect and mentally ingest all the musical spices to which we have been treated so far. Eventually the track restarts and what we hear is a sultry Arabian passage evoking dancers, warm balmy nights and exotic sounds and fragrances. What a wonderful end to a truly magnificent work.
If I get to hear a better album than “Salam” this year, then I am truly privileged. Even more subtle than its predecessor “Hilal”, Arkan once again transport us to wondrous lands. To use a culinary analogy, each of the ingredients is fresh and original, cooked and finally merged to give the album its sublime flavour. My senses tell me that “Salam” is beyond brilliant.
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http://www.arkan.fr
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