Kuadrumana

Artist Information

Biography

Kuadrumana shaped in 2005 when Hossein and Ahmad decided to share their minds in a project
which is now known by "KUADRUMANA".After 2 years they have done the demo recording and pre-productioned process
of the Kuadrumana's
DEBUT ALBUM . Also they've been looking for band members that now they have a full Line-up and they are working on their second album.
After trying to play some LIVE performances in Shiraz -Iran , unfortunately because of the Irans politic systems and situations, the goverments always canceled their gigs because of the sound of their music, lyrics, the chaos it brings ,n' everything about their shock rock playlists and the core of metal music wither it was a huge gig or some Club look alike gig in a Music institiue's hall.
So they choose their first album name as "THE GAMODEME" which protest the limits in progress and prohibition in Iran and the glaucoma of the peaple's thoughts.
Kuadrumana got the chance to play live on 2009 SXSW music festival but because of some unsolvable problems like getting passport and finance problems the band couldnt make it there to perform at sxsw 2009.
Kuadrumana feels like to play at the biggest stages of the world in exhibition of sharing their Pain with
metalheads all over the planet..

Instrumentation

Ahmad Motamed - Vocals
Hossein Yekband - Guitars
Armin Zia - Guitars
Mehrdad Movaseghi - Bass
Reza JanBozorgi - Drums

Discography

Audio

• Frozen (From the inside)
  Listen  
• Disaster , Suffer
  Listen  

Lyrics

• Frozen (From the inside)

Video

Photo Gallery

Press

• Soundtracks of Their Lives: Islamic Metal at SXSW By Tom Vale [+ Show ]
  

  The phrase “Islamic heavy metal” may sound oxymoronic to American ears. The images of Islamic cu...
  The phrase “Islamic heavy metal” may sound oxymoronic
  to American ears. The images of Islamic
  culture portrayed in the mainstream media generally
  do not include head banging, but as the
  Islamic Heavy Metal showcase at SXSW Music will prove,
  there is much more to life in Islamic countries than what we
  often see on the nightly news.
  
  
  Mark LeVine, one of the organizers of the Islamic Heavy
  Metal showcase and author of the book, Heavy Metal Islam,
  argues that metal actually belongs in Beirut more than it
  does in Hoboken. A professor of Middle Eastern studies at
  University of California-Irvine and a guitarist himself, LeVine
  spent five years traveling through the Middle East and North
  Africa, researching and rocking. “I think the center of metal
  right now is in the Middle East,” says LeVine. “It’s where
  metal makes sense, sonically, emotionally, thematically. Talk
  about ‘Napalm Death,’ they’ve had napalm dropped on their
  countries. They understand the anger.”
  
  
  The numbers support his point; bands such as Morocco’s
  Lazywall or Lebanon’s The Kordz play to tens of thousands of
  fans at festivals. As can be seen through LeVine’s book, plus
  the recent documentary Heavy Metal in Baghdad (featuring
  the Iraqi band Acrassicauda) and an upcoming EMI Records
  compilation called Flowers in the Desert, more western attention
  has turned to this rarely examined segment of Islamic
  culture.
  
  
  Still, even the biggest of these bands does not live a rock
  and roll fantasy. Playing heavy metal music (or any “western”
  pop music) is not easy. For one thing, as Moe Hamzeh of
  the Kordz explained, there is no culture of support: “In the
  Middle East, there is no music industry for anything outside
  of pure Arabic music. You will get no support from media,
  from sponsors, from government ... They almost consider you
  like an alien.”
  
  
  Nor is money the only concern. The Iranian government
  will not permit public performances of this kind, meaning
  Iranian metal/punk bands like Yellowdogs and Kuadrumana play either
  in private homes or on college campuses, and even then, they risk
  beatings at the hands of the morality police. When asked to explain
  his greatest dream as a musician, Arash Rahbery of the Iranian band
  TarantisT says simply: “To tour in my country.” Other governments
  are more permissive, but even in Lebanon and Morocco, the threat of
  police crackdown is never far away.
  
  
  As a result of the constant cloud of turmoil and official censorship,
  these artists have overcome obstacles that would be unfathomable to
  many of their American and European counterparts. “It’s one thing to
  suffer for your art, and it’s another to suffer,” says LeVine. “Getting your
  studio bombed out of existence is different than having to work a day
  job at Best Buy.”
  
  
  Still, it is precisely these harrowing circumstances that have helped
  to feed one of the world’s most fertile heavy metal scenes. “When the
  nightly mortar attack and machine gun fire is happening, and you’re
  10 years old, the only thing that will drown that out is hard rock,”
  explains LeVine. “As Reda Zine from Morocco said, ‘We play metal
  because our lives are heavy metal.’ ”
  
  
  However, neither Hamzeh nor Rahbary considers his band to be
  political, although as Hamzeh points out, there is really no such thing as
  being apolitical in Lebanon or Iran, and any band playing loud, aggressive
  music with lyrics about death tends to sound more subversive in
  Tehran or Beirut than it would in Milwaukee. But their motivation
  comes from the fact that playing this music is what they love, and when
  they were young and heard Black Sabbath, Metallica or Iron Maiden,
  that music spoke to them, just as it has spoken to other angry, frustrated
  kids all over the world.

Setlist

01- Intro( Just for live performances) 2:00//
02- Tearing My Skin 4:00//
03- Annihilated Reign 4:20//
04- Disaster ,Sufer 4:40//
05- Frozen (From the inside) 4:50//
06- Insane 5:10//
07- Waiting 5:30//
08- Bloodless 5:00//
09- Amentia 5:25//
10- serum of life 5:20//
11- Broken ,Lifeless ,Locked out 4:44//
Maximum 50 Mins

Basic Requirements

Calendar