RIYADH — Over the past five years, a Western musical phenomenon has been rising in Saudi Arabia and sweeping through the Kingdom’s major cities like, well, a touring rock band.
By best estimates — from young Saudi music fans — there are about 60 bands in Saudi Arabia playing Western style rock music, mostly in the form of Heavy Metal bands with their pentatonic scales and rapid-fire guitar finger work and high-tempo rhythms. Hip-hop is another favorite, followed to a lesser extent by jazz, blues and more traditional rock.
Kamal Khalil, the guitarist and vocalist for the appropriately named heavy metal band Deathless Anguish, says that these youth-oriented groups aren’t recognized by the established arts societies.
“They think we produce shallow material,” he said, referring to the Saudi Society of Culture and Arts. “We are like all other Saudi artists, work hard on composing special music and lyrics.”
Deathless Anguish, which was formed in 2004, has gotten some recognition abroad, said Khalil; songs from its album “Demand Inception” made it into the Polish Metal charts. The band has released five albums on a Polish label.
Perhaps it seems strange for a heavy metal band — which by definition celebrates counter-cultural views — to be asking for a little recognition from an established, status quo cultural intuition, but Khalil insists that such recognition would help them develop and promote a type of artistic expression that in a highly conservative society like Saudi Arabia is likely to be viewed by many with disdain. But such recognition is important, because without it these bands cannot play in public venues, which leaves only private functions and concerts in Western compounds as the only stages.
Muhammed Hajjaj, the 26-year-old leader of the Dammam-based punk and grunge band Sound of Ruby, says the Internet has become their artistic advocate. Websites like MySpace Music offer bands an opportunity to easily disseminate their music internationally.
“These special websites are playing a good role in promoting our band’s activities and gigs, and our music,” said Hajjaj.
Al-Hajjaj said that his concerts usually attract more than 300 people at private functions.
“Sometimes we’re forced to cancel our concerts by order of the Commission for the Promotion of Virtue and Prevention of Vice. This, of course, has a chilling effect on attendance.”
Hajjaj also points out that since his group isn’t officially recognized, the Ministry of Culture and Information — which must approve all media being sold (legally) in the Kingdom — prohibits their CDs from being sold in shops. Revenue comes from CDs the band sells at low-key private concerts. The popular music allowed in the Kingdom are generally productions expressing themes of love, or religious music. Music of a political nature is virtually non-existent on stores shelves.
As anywhere else, rock music (as well as hip hop, reggae and other genres) is a tool of political and social commentary.
“Music can be the best politicians and social voice,” said Aiman a guitarist from Jeddah-based heavy metal band Wasted Land. “The songs make us speak up and express our feelings.”
Aiman says the growth of popularity in Western popular music has to do with the view that it fills a void in the arts, especially among dissatisfied Saudi youth.
“Young boys here are not satisfied with how their lives are going,” said Aiman. “The restrictions, the lack of entertainment, bachelors-for-life. All these things make us angry.”