Metal music knows no boundaries, yet it's essential to recognize the privilege that people in North America and Europe enjoy today when it comes to access to bands and live shows. This contrasts starkly with regions like Africa, the Middle East, and Asia. Two decades ago, in the pre-streaming era, the challenges were exponentially greater.
Strangely enough, when I resided in Bahrain seven years ago, I wasn't even aware of a local metal scene. It was only by sheer coincidence that I crossed paths with Nadia Muijrers, the sister of the founder and drummer of Motör Militia, who introduced me to Abdulla and the scene.
Recently, I reached out to Abdulla for a comprehensive conversation about his musical beginnings, the band, and the broader scene.
Abdulla, thank you for agreeing to the interview. First of all, how are you doing these days?
My pleasure! I'm doing well and keeping busy with a new job and family life, trying to make as much time available to write new music and organize shows in order to keep the Bahrain Metal Scene in good shape.
We're excited for our audience to delve into the origins story of Motör Militia. Could you offer some insights into this journey?
Wow, that has become quite a story... over 22 years now! It all began in high school in 2001 when Mahmood transferred to our school after having lived in the USA for 10+ years. Mahmood played bass, and I played drums, and both of us liked heavy music, so we started jamming. Next thing you know, I organized and played at our school's first-ever talent show, and from that point on, I knew that being in a band playing the music we loved was something I wanted to pursue seriously.
By 2004, Motör Militia released our debut album "The Sound of Violence" with Mahmood leading the band. This move completely transformed the dynamics of the Metal scene, which, up until that point, had been primarily focused on bands playing cover songs. From 2004 onward, the focus shifted to bands writing, performing, and releasing original music.
After a few barren years with some lineup instability, the band regrouped in 2007 and reignited the live scene, which had gone stagnant during our absence. We finally managed to complete our sophomore album in 2011, just in time for the Arab Spring and for all the momentum to unfortunately disappear again. I still vividly remember returning from playing the Deccan Rock Festival in India and seeing protests in the streets on the way home. It took the country a long time to recover from that instability, affecting everything, and the metal scene was no exception.
In 2015, Mahmood decided that 14 years were enough, and he wanted to leave the band. It was very tough for me, as he was the only one who stuck with me all those years, but I understood the toll those years took on him. It's not easy persevering in a Metal band here. Fortunately, we were very fortunate to find John Baker, who joined the band in 2016. By 2017, the current lineup was complete, and I've always maintained that this lineup is the best we've ever had: John, Ahmed, Hisham, Mohammed, and myself. Everyone is technically excellent, motivated, and we all get along (even in close quarters, LOL!). The only challenge is that we're all older now, and most of us are family men. With the band being an expense rather than a primary income source, we can only prioritize it to a certain extent.
In 2018, we released what we believe to be our magnum opus (until the next one!) - "World in Flames." The album's release and the shows we played injected much-needed momentum into a scene that was craving it. I'm pleased to report that the scene is in good shape, with bands like Smouldering In Forgotten, Bloodshel, Hellionight, Ryth, and Must all contributing by releasing music and performing live.
In 2019, at Metal Fest - an event I organize in collaboration with Studio 77 owner Hani Taqi - we were able to bring the supergroup HAIL! to Bahrain. Having Steve Souza, Phil Demmel, James LoMenzo, and Chris Adler play a show in Bahrain was an incredible experience!
However, this time COVID was what halted our momentum. Nevertheless, I'm pleased to report that we've recently brought Amorphia from India and Evil Invader from Belgium to Bahrain, with plans to continue bringing in bands to enrich and elevate our scene!
Could you guide us through the creative journey of "World in Flames"; a notably powerful record by Motör Militia? Beginning with pre-production, could you walk us through the stages of recording, production, artwork creation, promotion, release, touring, and the
subsequent album promotion process?
Sure, I can take you through the most painstaking details (laughs).
We began writing what would eventually become "World in Flames" in 2013. This came after having spent 2011-12 working on a record that we ultimately discarded following the departure of one of our guitarists.
By 2015, we had completed demo recordings for the album, and by that time, we had recruited Ahmed as our new guitarist, followed by John as our new vocalist in 2016, and Mohammed as our new bassist in 2017. The demos were recorded at my house—nothing elaborate, just a desktop, interface, DAW, plugins, and so forth.
The artwork was conceived based on our concept and skillfully executed by Lenore at AniArtworks. Interestingly, I still possess some of the early drafts, which are equally impressive!
I recorded the drums in late 2015 while we were in the process of auditioning vocalists. Although we made some changes to guitar, bass, and vocal parts in comparison to the demos, the drums and overall structures remained intact.
The entire album was recorded at Studio 77. We tracked the drums on Hani's DW Collector's birch kit, utilizing my Sonor bronze snare and Sabian cymbals. While I could delve into the nerdy technical aspects of the microphones and preamps employed, I'll spare you the details.
Moving to 2016, we managed to record certain main rhythm guitar tracks. However, we then found ourselves in search of a new bassist, delaying the resumption of recording until the middle to late 2017.
By October 2017, the recording process was finally completed, and mixing was carried out by Hani in February 2018. The mastering was ultimately finalized by Alun Douches in March of the same year. On April 13th, 2018, we held our album launch show, with Hellionight providing support. The triumph of this show gave birth to the Metal Fest events that have continued since.
The album's promotion allowed us to forge valuable connections; from the folks at Metal-O-Mania and Malevolence Records in the US, to Metal1.info in Germany, Heaps of Metal in the UK, Metal United World Wide in Australia, and many other incredible individuals who contribute to and support the global Metal scene.
More recently, in 2023, we performed a show in Doha, marking our first overseas performance since 2011. We're optimistic that more feasible opportunities will present themselves in the future, considering the promising development of neighboring Metal scenes within the region.
"World in Flames"; stands as an exceptional album with remarkable riffs and licks, complemented by your explosive drum work and John Baker's commanding vocals that tie it all together. While the music speaks volumes, could you also share a bit about the captivating artwork that accompanies the album?
Well, this album is the culmination of an ambition I've held since we commenced work on our inaugural album; and that ambition was to create an album depicting the end times from our cultural perspective, interweaving scripture, myths, legends, and conspiracy theories.
With the storyboard in place, the next step was to conceptualize artwork that would unmistakably showcase it. We stumbled upon Lenore's website and were truly drawn to her style and her ability to capture intricate layers and the interplay between darkness and light. Subsequently, we reached out via email, presenting a concise brief to gauge her interest and discuss costs.
Lenore genuinely appreciated the concept we presented. We provided her with stringent guidelines regarding what we wished to portray. I can envision that it might have been a challenge for her, given the numerous drafts and revisions. While each iteration was remarkable, they seemed to lack something or emphasize one aspect over another in a way that didn't satisfy us. However, in the end, she delivered the artwork even surpassing our most vivid imaginations. We're exceptionally pleased with the result.
It's also noteworthy that it was during this period that we engaged ModBlackmoon to redesign our band logo. This too was a meticulous process, yet it proved immensely valuable in the end. He executed a fantastic job as well.
More than five years have passed since the release of "World in Flames"; a notably strong record by Motör Militia. Considering the ongoing evolution of heavy metal's presence in the region, what are your forward-looking aspirations for the band? Can you share any upcoming projects or creative ventures?
We're working on a new 5-track EP. Three tracks are ready, and two are in progress. We're aiming to head into the studio in the next few months. Additionally, we're eager to maintain the momentum with Metal Fest events. We already have an event lined up for September, and we're hopeful that all the details will be confirmed soon. Furthermore, we aspire to perform more frequently in our neighboring countries.
I would like to shift gears and chat about the region’s relationship with Metal. Motör Militia's achievement of being among the first heavy metal bands in the Arabian Gulf and Middle East to release an independent album is remarkable, considering the region's cultural backdrop. Can you delve into the reasons behind your decision to take this path, especially in a region not traditionally associated with heavy metal?
You might find it odd, but in my experience, I believe that where we come from is the most Heavy Metal place on earth.
From the very beginning, I don't think I consciously made a decision to start a metal band. As far back as I can remember, I've always enjoyed heavy music and playing the drums. So, when opportunities arose to make music with other like-minded and talented individuals, it always gave me a feeling of satisfaction and accomplishment.
Personally, if it weren't for the chemistry with other musicians, I wouldn't be one of those laptop guys doing it all by myself. I don't believe that great music can exist without human chemistry as a core component. I know plenty of people will disagree, but that's just how I'm wired. Laptop acts also do not translate well to the live show, from what I've seen.
Returning to addressing the question: I'm not the type of person who places too much emphasis on what others think of me. If I believe I'm doing something good and worthwhile, then I will persevere. Having said that, I have been fortunate to have support from my family, although there have been times of disagreement.
The choice of being a Metal musician here had its side effects, so to speak. But, thanks to the efforts of those in the scene over the years, those stigmas are all but gone. That result is well worth any price we had to pay.
Word-of-mouth promotion was crucial in building Motör Militia's initial following within the local and nearby Middle Eastern music communities. How did you navigate the cultural barriers and social norms while promoting a genre that was relatively unfamiliar in the
region?
Local and regional promotion has always been very tricky. There has been and, to an extent, still exists a sentiment that heavy music is evil or sinister, and by extension, so are those who create it. In the early days of the scene, our enthusiastic ambition would attract us unwanted attention, so we had to be more discerning in how we promoted ourselves and our music. With the rise of social media, it became possible to link together all the disjointed groups of people who enjoyed Heavy Music without inciting any form of "witch-hunt."
The band's decision to perform predominantly original material had a ripple effect, inspiring other local bands to do the same. Given the challenging cultural environment, can you discuss the role you believe Motör Militia played in pushing boundaries and encouraging fellow musicians to embrace their originality?
Yes, I can still recall members of some other bands in the scene at the time thinking we were losing our minds by playing full sets of originals with zero covers. Followed by recording them on an album and selling them at shows and in stores.
However, over time, enough musicians came to understand that originality is what would shape their legacy and eventually establish our scene's legitimacy regionally and internationally. I'm aware that a handful of the individuals in active metal bands today were present in the audience at our first album's release show, and it left a significant impact on them.
In the end, those who persisted in playing covers saw their legacies as musicians conclude when the bands disbanded. Yet, for those who released original music, their legacy remains intact as a testament to their accomplishments, even after the bands dissolved.
Could you share some poignant moments from the early 2000s, when Motör Militia was forging its path? How did you manage to establish connections and collaborate with other bands despite the cultural landscape for heavy metal?
Well, the reason I organized my very first Heavy Metal concert was due to two things:
We were removed from a stage by gig organizers for performing a Slayer song (I believe it was "Angel of Death" if my memory serves right).
We were essentially prohibited from participating in the largest festival for young musicians because we played what was deemed "inappropriate" music.
During that period, I was aware of four other bands that played similar music, so I reached out to all of them and we joined forces to organize the first FVF show (Friendly Violent Fun, with a nod to Exodus!). Following that event, numerous bands from Bahrain and Saudi Arabia expressed interest in performing at our shows. From that point onward, the entire ethos that would shape the current Metal scene became centered around DIY principles, and it's this very foundation that continues to keep it vibrant and resilient to this day. When everything is rooted in DIY, the scene remains under its own control.
Your journey with Motör Militia coincided with the growth of the Bahraini and Middle Eastern metal scene. In a region where metal wasn't widely recognized, how do you see your band's impact on the scene's growth and the emergence of local talents?
Our specific impact will be assessed by others. I'm aware that many bands consider us a significant influence both musically and in terms of creating opportunities that didn't exist before. It's truly wonderful that we were able to aid them in recognizing what's achievable.
I find it remarkable that we're now influenced and inspired by those we initially influenced and inspired. This cyclical process is what will propel the scene forward. It's crucial for the scene to continue to be welcoming and accommodating to new talent.
Cultures and regions play a significant role in shaping musical styles. Could you elaborate on how Motör Militia's music has both been influenced by and departed from the cultural norms of the Middle East, and how this distinctiveness contributes to your global identity?
From a musical standpoint, this shift has occurred more recently. Initially, we weren't consciously aiming to sound like our origin or our surroundings, but one can never entirely evade that influence, and that's actually positive. Nowadays, we're more intentional about incorporating sounds that are rooted in our culture. As for lyrics, I believe we've consistently embodied the identity of an enraged thrash band from the Middle East! (laughs)
Drumming for Motör Militia must have been a unique journey, considering the unconventional nature of the Middle Eastern metal scene. Can you share how you ventured into drumming?
Drumming was something I took pleasure in from a young age, long before I even discovered what Metal music was. My parents appreciated it because it provided an outlet for all the energy I had as a child. To this day, it remains a wonderful form of release.
Truly, I credit my drumming skills to my parents. Without their patience and support, I wouldn't have become a drummer or had a band during my teenage years. I believe that for anyone to find success in anything, having a solid support system is crucial; it's half the battle.
How do you and your bandmates maintain a productive working relationship both musically and personally, considering the unique challenges you've encountered?
It has never been easy, and now, with four of us being family men, it certainly isn't becoming any easier. Yet, in the final analysis, we cherish what we do and will persist at the pace that's achievable for us. While we might not be able to produce albums as rapidly as bands who are engaged in this full time, it's because we aren't able to do this full time—it's simply not feasible. I'm hopeful that this won't remain the situation for future generations hailing from our part of the world.
Music's emotional connection is universal, but it can be particularly powerful when it challenges cultural norms. Are there specific Motör Militia songs that hold special personal significance, especially when considering the context of the Middle East's cultural landscape?
They are all near and dear to me. The opening track of our first album, "End of Days," showcased the ambition to one day create a record like "World in Flames." I'm also immensely proud of the song "March of The Saracens"; a fan once conveyed that the song made him feel proud of being an Arab. Regarding 'World in Flames,' I believe "Supremacy" is our favorite, given the way that song seamlessly came together, and the video played a significant role in boosting our band's recognition across various aspects.
In recent times, the Middle East has experienced significant expansion in its entertainment sector. Do you perceive any potential influence from this growth that could spill over into the realm of the metal scene?
Well, I sincerely hope so. There have been some modest victories, particularly across the causeway in Saudi Arabia. Bands there were previously unable to hold gigs, but that has changed recently. The bands from the Eastern province used to frequently come to Bahrain to perform at our shows. Hopefully, with the evolving situation, an increasing number of Bahraini bands can now perform in Saudi Arabia.
Drawing from your extensive experience within the unconventional Middle Eastern metal scene, what advice would you extend to aspiring drummers and musicians who are navigating a cultural environment that might not fully embrace their musical preferences?
Well, if you're an aspiring drummer, be kind to your parents because drums are loud and
costly! (laughs) And if you're fortunate enough to have amazing parents who provide you with a drum kit, practice as if your life depends on it. For those who already possess the skill, step into the spotlight within your local scene; bands are constantly on the lookout for drummers. And if not, don't hesitate to start your own band!
Regrettably, I believe there aren't as many young drummers in the scene as there once were. This could be attributed partly to the surge in programmable drum plugins and similar technologies. Nowadays, most of the newcomers entering the scene are guitarist/producers who primarily create instrumental music, often without extensive collaboration with others. If they do collaborate, it tends to be in a more isolated manner, without all members physically present in the same room, impacting the chemistry. I might just be becoming an old curmudgeon, but I do wish there were more young individuals out there willing to put in the good old-fashioned hard work of hauling drum kits and guitar amplifiers everywhere, all in the pursuit of making the heaviest noise possible.
On a personal note, how has your involvement with Motör Militia enriched your life and perspective, considering the distinct challenges and triumphs you've encountered in a cultural landscape that wasn't initially conducive to heavy metal?
I've now been in the band for more than half of the time I've been alive. It's safe to say there's no turning back now! (laughs).
One of my favorite things is witnessing someone in the crowd singing lines from a lyric I wrote while we're performing the song. It's incredibly empowering and makes all the hard work worth it.
The band and our scene have undeniably enriched my life—through the people I've met and come to regard as friends and family, the challenges we've faced and conquered, the positive impact we've made on people's lives and experiences, the mindsets we've altered, and the stigmas we've overcome. It has been a remarkable adventure, and I hope it continues to unfold!
Thank you for your time Abdulla!
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