INTERVIEW WITH NADER SADEK
After the recent controversy surrounding the Inquisition show in Egypt this year, as well as the secret postponement of the Dark Fortress gig there, we asked Egyptian metal artist Nader Sadek about the events that transpired, as well as his upcoming projects.
DISCLAIMER: Please note that the views presented in this interview do not necessarily reflect the views of Metality or anyone involved in managing it or writing for it. As the largest metal webzine in the Middle East, we wanted to give Nader Sadek a platform to speak about this issue.
Metality:
DISCLAIMER: Please note that the views presented in this interview do not necessarily reflect the views of Metality or anyone involved in managing it or writing for it. As the largest metal webzine in the Middle East, we wanted to give Nader Sadek a platform to speak about this issue.
Metality:
1- A lot has happened since
the show with Inquisition in Egypt: a media controversy, and lots of back and
forth accusations within the scene. We’ve seen you defend metal on
Egyptian TV. Can you give us some more insight into the issue, especially for the
non-Arab audiences?
Nader: Basically what you have here is a young
scene, whereas in the Western world, they were dealing with this kind of
controversy in the 80’s and early 90’s. So I figure that this is the
“pubescent” stage of the metal scene in Egypt and the Middle East, which was
aborted in 1997 due to a fame-seeking and ignorant journalist with the name of
Abdallah Kamal. Then, the scene saw a weak revival in the 2000s.
First and foremost, I think it is a good
idea to give some background on the fiasco of ‘97. Two members from a band in
Alexandria were getting jealous from the fact that the Cairo metal scene was growing
and getting sponsorship from large companies such as Marlboro and McDonalds.
These two members called Abdallah Kamal, a writer at Rose El-Youssef, which is
not in any way a respected paper in Egypt and basically a tabloid who are self-proclaimed
“exposers” of problematic issues in Egypt. The band from Alexandria told Kamal
that metal is a pathway to devil worship, and that virgin cats are being
sacrificed and their blood drunk as some sort of ritual. Kamal saw the
opportunity to get fame and recognition for uncovering this “terrible” movement
and attended one of the metal shows back then, which were perfectly legal. He
took many pictures at that show in 1997 with a film camera, which did not have
any auto corrections of red eye in its photographs. Rose-El Youssef then only
published the pictures with the red eye appearing on people’s faces at the show
and captioned the pictures with “Children of the Devil are possessed at a Devil
worshipping mass!”
At the time, there was a strong rise in
terrorism; only a few years earlier, there had been an attempt to attack the World
Trade Center in New York. The Egyptian
media took the opportunity to talk about something else to keep the “sheep” in
check, and have them worry about something else, “coincidentally” something on
the opposite spectrum: “Devil Worship”. Unfortunately, things became difficult,
and hundreds of metalheads were uprooted from their homes, taken to jail, and
tortured. They spent a month in jail, living in hard conditions, and put in the
cell adjacent to that of actual terrorists. After 30 days, they were found
innocent and let go, but the government did nothing to compensate for the
suffering they caused. And many of those people stopped listening to metal and
wanted no association with it whatsoever.
For years, metal was taboo. You couldn’t
walk around in Egypt wearing metal shirts because most likely you would get
spit on.
Eventually, a new generation arose. Those
are people who were mere children during the mass arrests of ‘97. So, they
didn’t have the actual experience of being tortured or imprisoned. To them, these
events are simply urban legends, and a lot of them pretend to have been somehow
part of it.
Fast-forward to now, with the Inquisition
show. History simply repeated itself; however, there is a very big twist here
that is truly unbelievable.
When metal bands started to appear in the
2000s, they were made to be government friendly, which to me is the most un-metal
thing you could ever possibly do, and everything was “safe”. It’s like a horror
movie with nothing scary in it, but in general, it was bands that have
government connections. For example, their fathers are some government officials
or so. They also came from rich families, which meant they could hit up
European festivals and do “buy-on” shows.
“Buy-on” is when you pay a touring agency to put you on a tour with a
big band, but the playing slot is completely useless, because they make you
play at around 4 PM, 6 PM if you’re lucky. And nobody watches them, except the
big band’s crew because the performance is relatively early. However, they do
get to have their name on the touring poster. They end up looking like rock
stars in the Middle East because they “made it”. But the reality of it is that
they didn’t make anything, but rather bought their way to the slot. At these
huge festivals, they take a selfie with a large crowd behind them, but the
crowd really isn’t there for them at all. In fact, the audience is probably
still nurturing their hangovers from the previous night. Still, they get to go
home and pretend that they are heroes. Good for them, I guess.
Now that was some background information
that people should keep in mind, when reading the rest of this because it
really delves into the childish acts that are to come.
In Aborted’s show in Egypt last year, the
venue took 75% of the ticket income, and then lied to me about how many tickets
sold. The venue also has some extremely unusual rules, like no press allowed
for Metal shows and no photography. They also allow former employees to walk in
and bring friends but do not charge them the ticket price. I watched as these
people pushed away the security, just walked in backstage, and tried to hang
out with the band. I had to kick them out myself! The thing that bothers me is
that the owner of the venue is a Muslim Brotherhood supporter, which is a
terrorist organization covered under the veil of extreme piousness. I decided I
wanted nothing to do with this venue and found another spot for the Inquisition
show.
This other spot was the Amoun Hotel, a
hotel with a good performance space, usually reserved for weddings. I
approached them, and they liked the idea. They asked me to get the proper
permits, which I did. After I got the permits from the government, I announced
the show and the location. After learning about the show, Wael Ossama, Usama
Ahmed (The organizer of Metalblast), and failed musician Sharif Marzaban
contacted a journalist, and told him about the Inquistion gig and its location.
Now watch as history repeats: This time you
have three individuals, all with very little to no success in their work, who
then called a journalist also seeking fame. This journalist went and threatened
the Amoun Hotel’s owner and told him, “If you let this show happen, I will
write an article saying you worship the devil.” Of course, this scared the
hotel owner and he apologized to me for not being able to host the show, despite
me having the proper permits from the government. I had not yet obtained the
permits from the Musician’s Syndicate, nor did I have to at this stage; however,
I did try and they kept telling me, “You’re too early. Come next week.” Which I
did; week after week, I went and they finally they told me, “If you have the
money, we can make the permit the day of the show if we have to. We just want
the payment.” This made me wonder why they wouldn’t simply take the money, but
apparently, because it was around New Year’s, they were simply too “busy”.
Anyway, I got that call that the hotel,
despite having the governmental permits, which again at this point were all I
needed, could not host the Inquisition show.
I was on my way to the US, where I had a few shows lined up, so from
there, I had to figure out a new space for the show. I was then told about a
space in which The British Council ( a British cultural institute) and Pro
Helvetia (a Swiss cultural institute) had held events. I got the venue’s
contact information and called them. The originally-planned show date was on the
20th of February, but the venue was booked for something else on
that day. So, the only thing I could do was make the show on the 19th. Then, I
decided to let people know by direct contact through me and my friends about
the new location and date of the show, including all the people who had brought
presale tickets. People who were going to the show were informed about the
situation, and all the information about the location and time was given to
them. People attended the show, and it went really well. Honestly, I was
surprised at how many people showed up; it was a lot of people, considering the
fear and terror that was spread by some of the media prior to the show. The
show went really great, and I honestly consider it to be a milestone in the
history of metal in Egypt.
As for the permits, the new venue in fact had
assured me that they’ve paid the syndicate 10,000 Egyptian Pounds, which just
so happens to be what the syndicate did in fact ask for.
Two days later, I wake up to see one of the
most lie-ridden posts published by someone who is supposed to be respectable:
the head of the musicians syndicate in Egypt. He claimed that he personally
intercepted and shut down a “satanic ritual in the form of music”. He also
mentioned that the event had a Qatari and Bahraini DJ, and people wearing the
Star of David. He also mentioned the originally-planned show date and wrong
venue. This all points clearly to the fact that he was lied to. No one was Bahraini
or Qatari at the show, and no Stars of David were there, obviously. However, the
mentioning of these nationalities was a tool to gain the trust of some of the
Egyptian people through the country’s politics. In addition, the show actually
happened with so much of a glitch that no one was arrested. It was obvious that
those guys who wanted to ruin the show had contacted Hany Shaker, the head of
the Musicians’ Syndicate, and tried to get my show shut down. They failed. It’s also obvious because one of the people
who was against me realized that that this “uproar” was initiated because of
personal issues, and not that they actually care about the scene or about any
of the stuff that they are saying publicly. This is just a cover for their own
personal agenda. Anyway, after a major media backlash, the head of the
syndicate retracted and changed his statements not once, but at least 5 times.
First, he took back the claim that they (the Syndicate) actually cancelled it.
Then, he took back the claim that it was a satanic mass. Later, he said that
what happened was that I didn’t get the proper permits, and since they hold the
stubs to the permits, no one can really argue with that. I now have no respect
for the Musicians’ Syndicate after they lied and continually changed their
statements to save face.
I consider these people, the failed metal musicians
and organizers who wanted this show to be shut-down, as terrorists. Why?
Because the definition of terrorism is spreading fear in order to achieve a
political gain and sway public opinion to have their demands met. It is not
just blowing up buildings or chopping people’s heads off. They spread fear and
threats in order to achieve what they want, just like any terrorist group. They
are cultural terrorists.
So, Mafia-style, this group of people went
and continued spreading their lies.
2-
The Dark Fortress show did
not happen as planned. What can you tell us about that?
The show happened, but the “practitioners
of backwardness”, as a friend of mine calls them (i.e. the same people who
tried to shut down the Inquisition show), would call and threaten every venue
and rehearsal space and even equipment rental place. They would tell the owners
of these businesses and venues that we (Dark Fortress and my band) are going to
cause them problems if they work with us. I would keep finding people wanting
to work with me, who would tell me, “Yeah, we don’t care about the Syndicate.
They’re corrupt anyways”. Then, right before closing the deal, they would act
erratic and apologize. Again, it was obvious that they were threatened by
someone or a group of people in a position of relatively high power, which
ended up causing a problem for us to do the show.
The next day, however, we found a place and
the necessary equipment to do the show, and we did it. There’s not a damn thing
anyone can do about that now! Because of this, though, hundreds of people are
pissed off to know that Dark Fortress actually made it to Egypt yet then the
main event was cancelled. And we had to revert to doing it in secrecy, which is
neither illegal nor wrong. It just sucked. Of course, I wasn’t able to promote
this on the page because had I done that, they would have threatened the owners
of the place. However, the show must go on, and this was my only choice.
I also want to add that on public
television, I asked the head of the Musicians’ Syndicate to apologize, not to
me, but to the people whose lives he ruined with his irresponsible and invalid
claims. People got fired from their jobs
because their pictures appeared on those gross tabloid papers claiming they
were devil worshippers. Another good point to mention is that if you follow closely,
what’s going on, you’ll notice that the only media that supports these guys’
cause is Dotmsr, a company owned by Abdallah Kamal, the same guy who created
the fiasco back in 1997. All other intellectual media are backing me up. Who is
also backing me up? A huge number of the people who, in 1997, were falsely
accused of and imprisoned for devil worship support me. They send me messages,
encouraging me and doing their best to support me. In fact, some of them helped
sponsor the shows.
As far as getting the permits this time
around, I actually went to the Syndicate, and we agreed to start a new chapter,
be friends, and start from scratch. We agreed that we were both lied to and
taken advantage of and were pitted against each other by the jealous competition.
I was ready to make the payment personally this time. However, when I met with
them the next day, they had a different tone with me and were not as welcoming
as they were the day before. They then asked for $500 per musician playing at that
show. I laughed right in their face and told them that it is illegal to do so.
It looks like we’re back to square one. I told them I’m not paying it, and that
I’m doing the show anyway, and left. I spoke to a judge who told me that what
they are doing is illegal and that they need to submit papers as to why all of
a sudden musician has to pay $500 to play a show in Egypt. The judge also
assured me that what I’m doing is not illegal, as the only power the syndicate has at this point is to go
around and threaten people, Mafia-style, which is what they’ve been doing.
3-
You seem to be
revolutionizing the Egyptian (and Middle Eastern) metal scene. What’s next?
Finishing up my new EP, which I’m so
excited to finally release! It has the best line up I’ve ever put together,
from Glen Benton to Derek Roddy and many more.
4-
What’s your favorite song
to perform live?
Probably Entropy Eternal. It just gets so
fast, and I feel insane having to squeeze together all these words so quickly.
5-
Is there anything else you
can tell us about your upcoming release?
Yeah it’s titled Malefic: Chapter II, and
it’s a true hybrid of all the subgenres of metal –black, death, and doom. With
Malefic: Chapter III, it wasn’t so much a hybrid of subgenres in each song, as
much as each song being individually from a different genre. For example, “Deformation”
is a straight up brutal Death Metal song, followed by “Carrion”, a black metal
song, and then Entropy, a thrash track, and finally, “Descent”, which is doom.
In Malefic: Chapter II, each song truly contains different elements from the
subgenres.
6-
Any words for the readers
of Metality?
Yes, I want to add that the day after the Inquisition
show, I took the members of Inquisition to the Pyramids and asked them to put
on their corpse paint. Then we walked around the streets of Cairo, and many
people gathered around us and were asking me to take pictures of them with the
band. They would ask me who are those guys: Wrestlers? Artists? And I would say, “No, they’re musicians.” And
the eyes of the people would light up, and they would get excited. One man
asked me to take a picture of his daughter with them. I want to make this very
clear because it is really quite important. None of these people, and there were
many, from all walks of life as well as tourists and farmers in the area,
accused them of devil worship.No one tried to make the situation negative. And,
what am I trying to prove with this? I want to prove that the Egyptian people
in their hearts and minds are good people. They are curious, and they have no
qualms with a band like Inquisition, with their make-up and image. The fear,
panic, and problems that were caused, believe it or not, came from so-called
metalheads who tried to get us arrested and thrown in jail.
Now, I want you to imagine what would have
happened if Perversion, Inquisition, myself, and everyone at that show would
have gotten arrested. And why didn’t we? Because I had secured everything,
including a paper from the government itself, which means this: The government doesn’t
care, nor do the people. The problem is simply that the “competition” can’t
handle the fact that within 6 months, I achieved what others in Egypt hadn’t
been able to achieve in 10 years. Using lies, spreading fear and panic, those
guys are solely responsible for this mess. I do want to sincerely apologize to
those who were unable to make it to the secret show, and you certainly deserve
better than that!
I also want to ask the people reading this:
Who do you believe? A man who went in front of 90 million people and lied, took
back his lies, covered them with other lies, then retracted those, and covered
them up with more lies? Or the guy whose stuck to the same story? You choose,
and either way, I honestly don’t care. I feel bad for the head of the Syndicate,
because he’s proven to the whole country that’s he’s ignorant and easily
manipulated.
To the metal scene in the Middle East, I want to say that I'm doing the best I can for my brothers and sisters in that scene. And I don't mean just the fans, but also the bands as well. You have these great bands, who didn't use their rich parents' money or government corruption to make it somewhere in the scene. They're just really fucking good bands. Good bands like Perversion, Lelahell, Smouldering in Forgotten, Blaakyum, Perpetual Ferocity, and Voice of the Soul, to name a few. None of them have had help from their parents' money or something sketchy to get them where they are. These are the bands I want to help. I personally do not feel the need to compete or go against people, who could, as a team with all of us, do some really amazing stuff and kick ass. Unfortunately, there's bands that try to keep the scene divided and seperated so they can keep the spotlight to themselves. To those bands, I say that I'm not going to stop. We can have a great and powerful metal scene in the Middle East, so we can show the world that it is not some backwards terrorist pit. We want to show that this place respects itself and the value of human life and expression. If we continue to self-censor and make everything safe, then we are actually perpetuating this kind of censorship.
To the metal scene in the Middle East, I want to say that I'm doing the best I can for my brothers and sisters in that scene. And I don't mean just the fans, but also the bands as well. You have these great bands, who didn't use their rich parents' money or government corruption to make it somewhere in the scene. They're just really fucking good bands. Good bands like Perversion, Lelahell, Smouldering in Forgotten, Blaakyum, Perpetual Ferocity, and Voice of the Soul, to name a few. None of them have had help from their parents' money or something sketchy to get them where they are. These are the bands I want to help. I personally do not feel the need to compete or go against people, who could, as a team with all of us, do some really amazing stuff and kick ass. Unfortunately, there's bands that try to keep the scene divided and seperated so they can keep the spotlight to themselves. To those bands, I say that I'm not going to stop. We can have a great and powerful metal scene in the Middle East, so we can show the world that it is not some backwards terrorist pit. We want to show that this place respects itself and the value of human life and expression. If we continue to self-censor and make everything safe, then we are actually perpetuating this kind of censorship.
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