With over three decades of experience, Orphaned Land has consistently pushed boundaries—both musically and culturally—by blending metal with Middle Eastern instrumentation and themes of unity. On September 18, 2024, the band performed at Quantic Pub in Bucharest, captivating fans with their unique blend of metal and Middle Eastern influences. Before they hit the stage, Matan Shmuely, drummer of Orphaned Land, and guitarist Chen Balbus sat down for an exclusive interview with us. They discussed their musical journey, the significance of their name, and the powerful messages behind their albums, all while sharing personal anecdotes that highlighted the band’s deep connection with their fans and the cultural landscape they navigate.
Greetings! I am honored to speak with you today! Matan, having joined Orphaned Land as the third member, you’ve seen many changes over the years. How have your experiences and the band’s history shaped your perspective on being part of a band in the Middle East?
Matan Shmuely: I was, indeed, the third guy to join the band. Before me, Kobi and Uri established the band with Mati and Yossi, who are no longer part of the group. And after that came Chen and Idan, the new guitarists. Well… They are not so new, they are with us for more than 10 years. Now, according to the stories that I heard about what happened in 1992, in those days, it was hard to be active in this domain because we were in the Middle East, Israel. Even now, it’s a bit more challenging for us than for European bands when it comes to touring. While the bands we’re currently touring with can simply hop into a van and drive a few hours to their next destination, we often have to fly, which adds to our costs and requires more logistical planning.
Orphaned Land took its name from the song “Winds of War” (רוחות מלחמה) by Yehuda Poliker. What significance does that song hold for the band, and how does it reflect the message you aim to convey through your music?
Matan Shmuely: Yehuda Poliker is an artist that we really love. His parents were Holocaust survivors, and the tragic history of his family has deeply influenced both him and Orphaned Land’s music. This background is reflected in the band’s work, especially in the song “Wings of War” where the lyrics carry the essence of Orphaned Land—a paraphrase of the “Promised Land”—a reflection of the times, including the Intifada and all the turmoil that came with it.
From “Sahara” (1994) to “Mabool” (2004) and “Unsung Prophets & Dead Messiahs” (2018), your discography shows a progression in both style and theme. How would you describe the evolution of Orphaned Land’s sound and message over the years?
Matan Shmuely: This is a natural progression for our band. We don’t operate like a factory, where it’s one album one year, a tour the next, and then repeat. We put real thought behind our message and our music, which is why it takes time, and why each album is unique. It’s part of what makes us progressive. The fact that we’ve changed musicians over time also plays a role, as we create the music collaboratively. That’s the key to our process.
I have always had a curiosity when it comes to your album “The Never Ending Way of ORwarriOR” (2010). Why “ORwarriorOR”, does this “or” have something to do with the Modern Hebrew, or does it have the meaning that everything is a circle in order to explain better the never-ending concept? Or both?
Matan Shmuely: That’s a very philosophical question. In Hebrew, “Or” means light, and it’s also the beginning of the name “Orphaned Land” in Jewish and Israeli culture. We really appreciate the power of names. There’s also Gematria and other symbolic meanings that come into play. Light has always symbolized hope for us. Imagine being in a dark room and lighting a single candle—suddenly, there’s a lot of light. But the reverse isn’t true: in a well-lit space, introducing a small bit of darkness won’t make the light disappear. Light always defines the space.
“Mabool” is one of your most celebrated albums, telling the story of the three sons of seven. Can you share a bit about the creative process behind that concept and how it resonated with fans?
Chen Balbus: I know the story because I was a fan. From my perspective at the time, there was a large forum in Israel called “Hyde Park”, which was the biggest metal forum in the country. Orphaned Land, in its early form, shared pictures and updates about their process there. It was a big deal because it marked the first time a metal album in Israel was being professionally produced. The creative process was unique, especially since the band had been essentially split up. After “El Norra Alila“, each member went their own way—one went to India, another opened a store, and they all pursued different paths.
The material was there, but there was no clear direction. It was during Kobi’s time in India, around 2002, that he felt it was time to create “Mabool”. He received a message from a fan who sent him a picture of himself with an Egyptian man, his face blurred, both lifting their shirts to reveal Orphaned Land tattoos. That image struck Kobi deeply—it was a call to awaken. If an Israeli band could have such an impact on the Arab world, it meant something significant. That was the spark that brought the band back together to make “Mabool”.
In “A Call to Awake (The Quest)”, the lyrics describe a powerful call to repentance and awakening. What inspired the narrative of the Snake, Eagle, and Lion, and how does it tie into the themes of salvation and warning within your broader discography?
Chen Balbus: I can partially explain that the concept of the snake, the eagle, and the lion represents the three sons of Seven, symbolizing the three monotheistic religions—Judaism, Islam, and Christianity. The idea behind the album goes beyond just a “call to awake”. It explores the story of Noah’s Ark, weaving in the figure of the angel Seven, who was originally whole but later divided into three, reflecting the birth of the three religions. As the song “Birth of Three” explains, “the seventh was then divided into three”, and each was given their own symbol, taking on the faces of animals. The album revolves around this narrative, blending it with the story of Noah’s Ark
The song emphasizes the role of prophets warning of a crumbling empire. Do you see parallels between the song’s narrative and modern societal or political conditions?
Chen Balbus: I would say that in every Orphaned Land album, you’ll find this theme—not just in “A Call to Awake”. Each album has a relevance to what’s happening in the world today. For example, our latest album touches on politics, false propaganda, and other issues that are deeply intertwined with our reality. The reason it takes us so long to release new music isn’t because it’s hard to write, but because it’s challenging to find a subject that tells a story with contemporary relevance.
The story could be as ancient as Noah’s Ark, like in “Mabool“, or more modern, like the themes in “Unsung Prophets & Dead Messiahs”, or even draw from Greek philosophers like Plato. Each album has its own unique way of addressing these universal stories, but they all reflect the same underlying message—about what we experience in the Middle East, as humans, and in the world today. It’s the same story, just told in different ways with each release.
Just wanted to touch a bit the topic of “Unsung Prophets & Dead Messiahs”. It draws inspiration from Plato’s Allegory of the Cave. You have said during multiple interviews that the allegory is still relevant in today’s world. Why do you think that?
Matan Shmuely: The allegory of Plato speaks to the idea that we struggle to recognize a prophet or a messiah when they come with a message. Throughout history, we’ve seen this happen—leaders who bring change are often met with resistance or are even killed, their lives cut short before they can fully realize their impact. This remains relevant today, as we continue to fail in recognizing prophets and messiahs who carry important messages for the world.
The guests on the album “Unsung Prophets & Dead Messiahs” At The Gates’ Tomas Lindberg and Hansi Kursch from Blind Guardian. You have said about Hansi that he resembles a modern Orpheus to you, thanks to his skills when it comes to singing, and about Tomas that he has the perfect voice for an antagonist. For how long did you appreciate them and how did you start the collaboration? Also, the album features a stunning guest guitar solo from Steve Hackett on “Chains Fall to Gravity”. How did this collaboration come about, and what was it like working with Steve Hackett?
Matan Shmuely: So, with Hansi, we got to know him during the tour where we supported Blind Guardian back in 2015, and we also used to work with the same manager. As for Steve Hackett, Kobi sang on one of his albums, and when Steve asked about payment, Kobi told him to forget about it and proposed something even better—having Steve play one of our tracks. And that’s exactly what happened.
And since we are talking about collaborations… are there any artists or bands you’d love to collaborate with in the future, or any exciting collaborations currently in the works?
Matan Shmuely: At the moment, no. We do start to collect material for a new album, but we still don’t know which artist can be. There is something… how can I say it… Well, for example, as band members through the history, everybody has his color and our attitude is a little bit liberal, you know, it’s whatever comes, shall come. We don’t have any plans at the moment but when the time will come we will find someone. If someone important is hearing this message, please call us.
Your latest live album, “A Heaven You May Create” (2023), has received praise. What do you feel has been the band’s most transformative moment in this 30-year journey?
Matan Shmuely: My answer is quite straightforward: we follow the idea of embracing the light and positive energy. That’s the direction we take in those moments, and when you approach things with that mindset, it tends to lead to something good. We don’t try to overcomplicate it.
Since I was tracking you, you have said the following thing during multiple conversations: “I always dream and try to make the world a better place”. Was there a specific moment when you felt that your music truly made a difference in someone’s life or even in the larger cultural conversation?
Matan Shmuely: I think the first story that made a real impact on the band happened after the “El Norra Alila” album. The band took a break for a few years, and back in the early days of the internet, Kobi received an email with a video of a Muslim man who had combined Orphaned Land’s music with images of himself showing off a tattoo of the band on his arm. This was surprising, especially since it was coming from someone in a culture where tattoos, particularly of a non-Muslim band, are quite uncommon. It turned out to be the start of many similar videos and pictures of Arab and Muslim fans with Orphaned Land tattoos. We realized there was something significant happening here—this was that small light in the darkness we often talk about.
Over the years, Orphaned Land has built a deeply passionate fan base. Is there a particular interaction with a fan that truly mesmerized or moved you, something that stands out as especially meaningful?
Matan Shmuely: In every country I visit, I try to share the same love with the people there. When I was younger, I used to joke that I’d love the country that gave us the best hotel the most. But now, I don’t care about that anymore—we can sleep anywhere, eat whatever, and play any venue. The real thing that stays with you is the love. When you go home, you don’t remember what kind of sheets you had, how big the towel was, or what the drinks were like. What you remember is the love, and love brings more love. Together, that’s the light we carry.
How has “A Heaven You May Create Tour 2024” been for the band so far? I mean, have there been any standout shows or moments that have made this tour particularly memorable?
Matan Shmuely: I think the economic challenges like inflation in Europe, as seen in other parts of the world, could eventually affect things here, but it feels like it’s happening more gradually. Right now, though, Romania seems to be the highlight, and I believe tonight’s show will be our best so far—the pre-sales have been fantastic. It’s not easy for us to return after five years without having released a new album of original material. Yes, we have an amazing live DVD with an orchestra, which is a lot, but if I compare it to 2011 when we had “The Road to OR-Shalem: Live at the Reading 3, Tel-Aviv” and toured with that live DVD, metal fans still crave new music and fresh messages. So far, we’re doing okay—nothing less and nothing more. Romania is set to be an incredible show, but as for the other places, I’m taking it one day at a time and not overthinking things.
I see. A little sneak-peek then? What can Romanian fans expect from this upcoming show at Quantic Pub?
Matan Shmuely: So far, tonight’s show is shaping up to be the best of the tour, as we’re expecting a huge crowd. For me personally, Romania will always hold a special, romantic significance. My very first show with the band was here in Romania when I was 22. I flew to Cluj-Napoca just five days after Kobi called me. I knew the songs, but I couldn’t believe I was actually going. That experience in Romania was incredible, and it’s something I’ll always remember fondly.
Orphaned Land performing at Quantic Pub, 18.09.2024
© Paul Voicu [LivePictures.ro]
Matan Shmuely: Since Romania was off our tour schedule for a while due to some issues with promoters, tonight’s show marks our return, and we’re bringing something special—like the bouzouki. We’ll be playing a few songs with it live, which is not something you usually see metal bands do. Many would just add it through pre-recorded tracks, but we’re bringing it right on stage. We also have new video art, which adds a fresh layer to the experience. I’d say Orphaned Land is like a fine whiskey—we only get better with time.
Fantastic! Looking ahead, what’s next for Orphaned Land after this tour, any upcoming projects that fans should be excited about?
Matan Shmuely: First of all, we’re celebrating the “Sahara” album with a special show in Israel. During soundchecks, we sometimes rehearse those songs—it’s the best way to practice. We have this show coming up, and then at the end of November, we’ll be touring Europe again for about three weeks to a month as part of a multicultural festival. So right now, it’s all about shows, shows, shows, and celebrating the DVD. In 2025, we’ll begin working on a new album—planning schedules, recordings, and everything else. I think, but don’t hold me to it, that we’ll have the new album ready by 2026. That’s the plan, though it’s not set in stone. With all the wars and economic crises, you never know what could happen. But that’s the idea for now.
As we wrap up, is there anything you’d like your fans to know about Orphaned Land that they might not already?
Matan Shmuely: Now this is a simple question, but the hardest to answer. Honestly, I don’t know—let’s let the music speak for itself and fill the show with positive energy. I’m really, really excited to see so many people, especially friends I’ve known for years. Some of our Romanian fans have traveled to see us in Israel and other countries, and now Romania finally gets the show it deserves. Oh, and by the way, we, in Orphaned Land really love mamaligă, just like the guys from Subterranean Masquerade love papanași.
Haha, awesome! Thank you very much for your time and see you on stage!
Matan Shmuely: Thank you!
Chen Balbus: Thanks!
