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Orphaned Land: El Norra Alila

15/03/12 || Cobal

Hey there! Cobal’s‘till in da house, fucko!

…That was some sort of a greeting for the person who just gave the album that concerns me at the moment as a present.

Now, I have always had a special interest in experimental fusion projects. You know, those that dare to go beyond the conventional metal sub-genres. Baphomet knows, have I given a chance to the most bizarre statements out there! Unfortunately, the guys who actually try to make an original statement… well, are often untalented weirdos.

Lucky me, that’s not the case of OL, yet I must admit I was reluctant to listen to them again, as my expectations when listening to “The Beloved’s Cry” were not exactly fulfilled. Not at all. Why? Too… generic, if you like.

Truth be told, “El Norra Alila” is a completely different story: there are so many elements to be appreciated here! I could mention, as a start, the multiple vocals Kobi Farhi performs, nurtured of course by a considerable number of back vocalists. As it usually occurs with this type of work, that variety gives the record a rather special flavor if you know what I mean.

There’s also a wide gamma of acoustic and traditional instruments such as kannun, tambourine, darbuka, zil, tar, bendir and dumbek. No matter WHAT ON EARTH those are. My point here is you won’t get bored. There are many, many details to be found that 10 listens might not be enough to become familiar with’em. Add more and more plus keyboards and perhaps, just perhaps, there are too many.

Guitar work is in general pretty decent. It sort of leads the whole line of the composition, and there’s a couple highlights I’ll let you, dear expert banger, to find out; let’s just say even this kind of metal can use breakdowns, furthermore, in a quite intelligent way.

With regard to the rhythm section, I must say bass playing surprised me in this one. Take “A Neverending Way” as an example. Is a complex song indeed. Particularly when the calmest passage appears, Uri Zelcha steps forward and shows off his skills as a jazzy performer, grooving and taking command of what’s going on. Just classy. Although, I honestly didn’t find any flaw withing the drumming, I’d say is discreet. On the other hand, with such over-elaborate compositions it’s undeniable it should have been easy to keep up with all that’s happening at the same time, and not to be overshadowed.

Just as a curiosity, the release I got (Scarecrow Records) also includes the Paradise Lost cover, “Merci”. Well accomplished for me. As a matter of’act, the mentioned version of the album, is actually a double feature which includes the so mentioned classic, “Sahara”. I haven’t had the time to check that one out…

While most folk acts are trying to make their way with mediocre clichéd catchy tunes, “El Norra Alila” rather goes for integrating Middle Eastern stuff, complex almost experimental music, and a strong commitment to their roots. Also, when it comes to subject of fusion, that’s what you get! Not just part A, part B and part C. A great display of originality, believe me.

Information
Released: 1996
Label: Holy Records
Website: www.orphaned-land.com
Band
Kobi Farhi: vocals
Yossi Sa’aron: guitars (lead)
Matti Svatizky: guitars
Uri Zelcha: bass
Sami Bachar: drums

Tracklist
01. Find Yourself, Discover God
02. Like Fire To Water
03. The Truth Within
04. The Path Ahead
05. A Neverending Way
06. Takasim
07. Thee By The Father I Pray
08. Flawless Belief
09. Joy
10. Whisper My Name When You Dream
11. Shir Hama’alot
12. El Meod Na’ala
13. Of Temptation Born
14. The Evil Urge
15. Shir Hashirim

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