Hate Field - Scary Fairy Tale
Reviewer: Tiphany Mataï - 2012-09-08
Highlights: New Bom’s Away, Sweet Nightmare
[Translated By: Carmina Khairallah]
“Original and well worked on, Hate Field impose their Industrial Oriental Metal”
If there is one scene that’s moving in the Middle East (except for Jordan or Israel), it has to be Egypt, gathering many formations all more or less talented. The greatest part of them works in extreme conditions and few are the metalheads who decide to choose a more synthetic style: Industrial Metal. In the entire Middle East, bands who are based on this genre are not even numerous enough to be counted on one hand’s fingers. We recently discovered Turkey’s Seth ECT with their Cyber/Death/Black. It is now time to discover Hate Field.
Founded in 2009 by Odious’ ex bassist Alfi Hayati (Odious being one of Egypt’s oldest bands), Hate Field started as some sort of a tribute to Metallica (which explains their scene name, a modified version of James Hetfield’s last name). It is also a way of mixing authentic and synthetic, hot and cold, culture and technology. Indeed, Alfi mixes his Industrial Metal with a wide array of “Arabising” elements.
We could thus call that Oriental Industrial Metal. This one man band led by Alfi can be praised for offering something very different from what we are used to hear. Even though the tribute is sort of directed towards Metallica, their music is much closer of Rammstein’s (one of the fella’s influences), although it isn’t really what we can call copying and pasting. Apart from the samples and keyboards that we could have found in the Germans’ music, it might be Alfi’s voice tones that lead us to this conclusion. Besides that, we are left with a terribly original “Scary Fairy Tale”.
Alfi succeeded in putting his Oriental black influences, which may have come from Odious, aside in order to give more importance to the compositions’ groovy and dynamic aspect. The greatest part of the album isn’t very fast; we are more in a catchy mid tempo with a few mutations, such as slight accelerations (“Hope Overdose”). Nevertheless, this remains very energetic and driven by Oriental melodies played on the guitar or on the keyboards. These melodies can also be felt in the singing technique. Even though Alfi’s voice isn’t completely accurate, it remains nonetheless acceptable and varies between clean and growled parts of the songs (in “Hope Overdose” or “Deadly Supafly”)
The titles remain well worked on, Alfi writing and composing everything. “Sweet Nightmare” brings this stunning Oriental touch, led by its rawer lead guitar and its warm ambient background. Ditto in a more atmospheric “Maybe in Another Life”, between Industrial and Arabic music. A song made as well for dancing as it is for headbanging, lulled by some rare techno beats.
Hate Field manage to amaze with “New Bom’s Away” featuring vocalist Riham Zakzouk. Symphonic touches, slicing riffs, electronic interludes held by this Oriental melody. It is quite uncommon and extremely striking. The upside is that Alfi manages to dose his Industrial touches in a way that doesn’t drown his compositions. That way, if some noises are added to the basic melody, the listener will have to wait till the middle or the end of a song to get an entirely different part based on keyboards (“13” or the cybernetic “We Will Win”)
“Scary Fairy Tale” is not an album that is heard but felt, giving a peak at a vast inspiration and array of emotions coming directly from Alfi’s experiences. That explains that very personal aspect and that will to offer something different. The production might still be slightly defaulting (being made with the available means in Alexandria), it doesn’t change the fact that it manages to bring out this originality that is becoming more and more difficult to find in current young bands. To be plugged in your ears, really loud.
Posted as part of our partnership with Tiphany Mataï, reviewer from the French Spirit of Metal Webzine. Original French review can be seen here.