Baybeats 2024

Heaven Brought Me Hell: A progressive technical death metal band dead set on reinventing the scene 

By Cherie Wong 

Offstage, the members of Heaven Brought Me Hell are many things–a boxing coach, an art director in marketing, a florist, an engineer and a fishmonger.

But onstage, the progressive technical death metal band is a united force that commands an energy like no other.

This is their story.

The Genesis of Heaven Brought Me Hell  

Photo by Baybeats Budding Photographer 2024, Nur Emira Farihah
geared by Camera Rental Centre Singapore 

Before Heaven Brought Me Hell, there was Roosevelt’s Vengeance, an early metalcore band formed by band members Mohammad Hairee Bin Ya’acob (lead vocals), R Pravin Nayar (lead guitars), Muhammad Nurharidz Bin Mohd Alias (bass) and Benson Aw (drums), who met at Northview Secondary School, where they bonded over their shared love for bands like Avenged Sevenfold and X Japan.

With a thirst to create heavier sounding songs, the band rebranded themselves in 2009, forming Heaven Brought Me Hell, a progressive technical death metal band that mixes elements of symphonic orchestras, technical drumming and guitar riffs with heavy hitting death metal vocals. There were line-up changes along the way, with other friends joining the band. But ultimately, the aforementioned four remained.

Back then, Mohammad Hairil Bin Ya’acob (lead guitars), who would eventually join the band, was only seven years old. Hairil, who is Hairee’s younger brother, had frequent interactions with the other band members who noticed his knack for mastering complicated guitar riffs.

His dexterity for the guitar caught the eye of Pravin, who foresaw that Hairil would eventually join the band.

“Whenever we hung out, he would be practising the guitar, and each time we came over, he was just getting better and better”, exclaimed Pravin, “He was just reaching incredible levels of understanding the instrument and I remember telling him – ‘one day you need to join the band’”.

And join the band he did. In 2019, Hairil officially became a member of Heaven Brought Me Hell after a four-year hiatus, completing the quintet that we know today.

Where art mirrors life  

“Existence”.

This was the word Hairee used when asked to describe the creative process behind their latest and second album 33, released in January this year.

Compared to their debut album Life of Creation (2020), which the band wrote together and at set timings, 33 was written on the fly, as “life was being lived”.

“I would only write when the thoughts came”, says Hairee, explaining the thought process behind his songwriting. “Before I knew it, I had a bunch of words and all that was left to do was assemble them into ideas and think of ways to rhyme”.

Pravin cheekily interjects, much to the band’s amusement: “There would be times where he would be sleeping and see the words in his dream…and he would wake up and note it down,”

This improvisational approach extended to the other members as well, who would occasionally turn up to the studio to find that some parts of a song had already been written or re-written. “It’s super fun,” describes Pravin. “It’s like hearing a new song for the first time each time, and one that you get to build on”.

Apart from their songwriting process, the omnipresent notion of “existence” is also a recurring motif in the album 33. Inspired by motion pictures, each song in the album exists in tandem, forming a cohesive story of the different experiences and emotions an individual may undergo in life. In fact, Exordium, the first song in 33, is a sequel to Once Gods, the last song in Life of Creation.

A symphonic, introspective sound like no other  

Combining symphonic orchestras and techno beats with traditional death metal elements, Heaven Brought Me Hell’s genre-defying sound is hard to miss.

When asked for their musical inspirations, the band cited J-Rock band X Japan, particularly their song Art of Life, a 30-minute song showcasing a wide range of musical styles, from slow piano ballads to fast-paced guitar riffs and uptempo drumming sections.

It’s bands like X Japan that give Heaven Brought Me Hell the courage to bend the rules of music and discover their niche.

Pravin summed it up nicely. “From [X Japan], we understood and learnt that you don’t have to box yourself into one kind of sound. You can do anything,” he said. "As we started to flesh out our own sound, we progressively started adding weirder and more out-of-pocket stuff to the soundtrack…If you listen really closely, you can even hear some techno in the background while the strings are playing.”

From the addition of pianos, to cello strings, and eventually techno beats, Heaven Brought Me Hell are hell-bent on pushing the limits of the genre, producing music that is both unorthodox and uniquely theirs.

Nothing beats being on stage

Photo by Baybeats Budding Photographer 2024, Nur Emira Farihah
geared by Camera Rental Centre Singapore 

With almost 15 years of history, Heaven Brought Me Hell are not rookies in the scene. When asked about their experience performing at last year’s Brainwashed Vol. 3 gig alongside other local names like Aggressive Raisin Cat (progressive metalcore Budding Band from Baybeats 2022) and Glassmouth (chaotic hardcore/mathcore band), the band’s faces lit up with excitement.

“We didn’t get a chance to have any dead air during our set,” exclaims Pravin, on the band’s first live performance in seven years. “Because whenever we aren’t playing, the crowd is just shouting. They’re shouting our names. It’s just non-stop. Someone even asked me for my guitar pick!”

Riding on the electrifying buzz around their comeback show, the band felt certain that the tides were changing for them. “We even got photos taken after the show, which I don’t think I’ve experienced before”, Hairee adds. “I sort of felt like maybe…something is going to happen [for the band]. This is a good show”.

Holding on to this special moment, Heaven Brought Me Hell decided to audition for Baybeats 2024, despite not making the cut twice before. Unlike their previous attempts, this time, the band felt more assured that they would make it through, as they had gained greater confidence in both their songs and each other. “I know what these guys have to offer,” says Hairee, nodding to his band members, “Also, this album is so dope! I’m my own number one fan…and I’ve always felt that”.

More than just words, the band’s confidence and pride for their work shone through the stage during their auditions, pulling them through to success as one of the four chosen Budding Bands.

What’s next for Heaven Brought Me Hell?

Photo by Baybeats Budding Photographer 2024, Nur Emira Farihah
geared by Camera Rental Centre Singapore 

As Baybeats approaches, the band is currently focusing on their upcoming performances and learning from their mentors and other creatives within the music field.  

Beyond the opportunity to perform, Heaven Brought Me Hell is thankful for the learning and mentorship opportunities that the Baybeats Budding Bands programme provides them.  

“I think the fact that you can surround yourself in a room full of other creative people is pretty cool,” chimes Hairee. “It’s like a mirror where I’m just absorbing all of these creative juices”.  

Pravin agrees, adding that “Baybeats always seemed like one of those places where you can learn from people who do this [music] for a living…and who have that knowledge. We’re super lucky to learn from them”.  

Apart from being stoked to be performing to such a big audience, the band hopes that this opportunity would also put more eyes and ears to their music, and expose more people to the death metal scene.  

When prodded on their plans after Baybeats, the band excitedly claimed that apart from making new music and performing at more gigs, they wish to create a documentary on the band. More than a way of preserving their legacy, this documentary would allow them to reminisce their shared history and share their story with others.  

After all, friendship is the cornerstone of the band.  

“We were friends first, before we even started the band,” says Hairee, looking back on the band’s beginnings. “Now, as we grow older, I’m thankful that the band is here to help us maintain this friendship”.  

Crouched over small coffee tables at a cafe in Esplanade Mall, laughing over shared memories, Heaven Brought Me Hell is a reminder that every band is more than just the music that they create.  

Onstage, they are a rising force to be reckoned with. But offstage, they are just a group of friends with a shared love for music.  

Catch Heaven Brought Me Hell at Baybeats on 12 Oct 2024, Sat, 6.40pm at Arena (DBS Foundation Outdoor Theatre at Esplanade) 

Maneloren: Indie Rock's Authentic Pulse at Baybeats 2024 

By Cyan Cheung  

Photo by Baybeats Budding Photographer 2024, Ang Wen Yang 
geared by Camera Rental Centre Singapore 

Maneloren is an indie rock project originally conceived by vocalist and lead guitarist Norman Lee during his university years. Now, joined by his wife Stephanie Lauw on keyboard, guitarist Eli Ordonez, bassist Evan Chan (standing in for Isaac Tan, who was unable to make it for Budding Band auditions), and drummer Rex Chin, Maneloren is bringing their blazing fusion of raw energy and rich soundscapes to the stage at Baybeats 2024.

Keeping it real

At its core, Maneloren’s music is one that is relatable and genuine. Their sound is upbeat and groovy, interlaced with punchy rock riffs and lush synths that add layers upon layers of spacey sonic texture. However, beyond its energetic and dancey front, the music speaks to the difficulties of a fast-paced metropolitan life, inspired by Norman’s own personal experiences. As he puts it simply, their music reflects “the millennial struggle in Singapore.” In his music, he writes honestly and authentically, in hopes that others can resonate with it by finding something similar within themselves.

Solo project to dynamic collaboration

Photo by Baybeats Budding Photographer 2024, Ang Wen Yang
geared by Camera Rental Centre Singapore 

Despite having played in bands in university, starting Maneloren was pretty scary for Norman. “I don’t really see myself as a front man. To have a music project and have your face on all your releases is nerve-wracking,” he explains. However, he always had songs that needed a place to go. This spurred him to take the plunge and begin his journey by showing people his music. Amongst his earliest supporters were Rex and Isaac, who both eventually hopped on board to play for Maneloren. As for Eli, he joined the band after meeting Norman at a gig where they played together and connected over similar guitar-playing philosophies.

While Stephanie, his wife, had always been involved in Maneloren behind the scenes—helping Norman with key decisions—she officially joined the live lineup in 2021. The band’s first post-COVID gig at *SCAPE’s Music Day Out! marked the beginning of this live collaboration. By then, the couple had more disposable income and invested in their own keyboard, which made it easier to collaborate on Maneloren’s sound.

Over the years, Maneloren has evolved into something bigger than just Norman himself. As the project grew, so did his support system–starting with Stephanie, who has been a constant source of honest feedback. “She’s not the kind of person to just say yes,” Norman shares, appreciating her constructive criticism and insights on how to improve the music. For Norman, the song always comes first, with no room for ego–whatever idea makes the song better is what he pursues.

Going full send

Norman, who turns 30 this year, grew up listening to Linkin Park on the MP3 player he shared with his brother, which inspired him to pick up the guitar. “In hindsight, I should have paid more attention to theory classes,” he quips, prompting laughter. He found himself gravitating towards the electric guitar, and after many phases, discovered alternative rock bands like Foo Fighters, whose raw and grounded natures spoke to him, unlike the grandeurs of Muse or the aggression of Lamb of God, both bands being early influences of his.

Speaking of his influences, Norman emphasises that aside from the songwriting aspect, the bands he draws from all have one thing in common: whenever they play live, they give it their all. This is what truly drives and inspires Maneloren.“It’s about connecting with the crowd, and playing a show with energy and conviction,” explains Norman, “you have to make music you believe in.” Anyone who has been to a Maneloren gig, like their recent show at Sunroom Studios, can testify that this isn’t just talk–they go full throttle every time, making sure each performance is charged with passion and intensity.

So… what’s next?

Photo by Baybeats Budding Photographer 2024, Ang Wen Yang
geared by Camera Rental Centre Singapore 

Listeners and fellow struggling millennials can look forward to Maneloren’s upcoming single, Why Should We Care, which is set to release shortly after Baybeats this year. Guitarist Eli describes the track as “a pop-punk song that sounds like The 1975”, and it is all about being jaded about work–another pressure of city life. “It’s a bit of a rant, like a catchy rant,” Norman comments with a smile. Another EP is in the works as well, slated for release in early 2025 under Warm Linen Records.

For Norman, music has always been a natural outlet for expression when the going gets tough, one that helps him make sense of the world and find the clarity he needs to move forward. “I feel like I have no choice but to do it,” he says, “the only way for this project to stop is if I stop the music.”

Catch Maneloren’s performance at Baybeats on 11 Oct 2024, Fri, 7pm at Arena (DBS Foundation Outdoor Theatre at Esplanade).

Sindo, the Cai Png Instrumental Band that’s a Feast for the Ears

By Siobhan Tang

Photo by Baybeats Budding Photographer 2024, Hanim Yahman 
geared by Camera Rental Centre Singapore 

Before my interview with Sindo, the genre-bending psychedelic rock instrumental four-piece in this year’s Baybeats Budding Bands line up, I did a quick search of the location at which I was to listen in on their rehearsal session. Pinching the virtual map on my screen, I quickly realised that the secluded factory building in which their studio is housed is coincidentally called Sindo Building.  

If they were not the secret sons of real estate moguls, then the band name is surely a funny homage to the location for the band’s weekly practice sessions. 

Rudy Swandi, 31, guitarist, later confirms that the band was indeed named after the building. “We do not know what the inspiration for the building’s name is, but when we Googled the word, it has other meanings too,” Rudy adds before recalling a peculiar list of meanings that spanned from a Korean folk religion to the Tagalog word for “singlet”—that is, if the ‘i’ in Sindo is switched to an ‘a’.   

A Fresh Sound 

Photo by Baybeats Budding Photographer 2024, Hanim Yahman 
geared by Camera Rental Centre Singapore 

Consisting of guitarist Harith Mustaffa, 30, Rudy, bassist Hilmi Eddie Shah or “Mingo”, 24, and drummer Zairudy Zairunie, 31, the band informally began with jamming sessions between Harith and Rudy. After getting acquainted with Mingo and Zairudy through their work in other bands, the four members eventually came together to form Sindo in September 2023. With each member hailing from vastly different musical backgrounds ranging from ambient music, post-rock, indie, funk to Britpop, the band’s sound is a unique amalgamation of all of their musical interests. They cite international acts such as Glass Beams and Khruangbin, and local label Kribo Records as their influences. 

While Baybeats marks the first time in which Sindo will grace the stage, each member has been active in their own respective projects. Mingo and Zairudy, for instance, are also members of surf pop band The Purnamas.  

“When we got in, we were quite shocked, really,” says Harith as he recalls the Baybeats Budding Bands auditioning process. What was initially a casual application into the programme eventually led to this major opportunity. This, understandably, sent initial waves of concern amongst members, especially considering the band’s infancy and lack of a presence on music streaming sites like Spotify.  

Odd Time Signatures and a Guitar Effects Instruction Manual

This exciting newness, however, should not be misconstrued as a lack of preparedness. Come rain or shine, the band gathers every Sunday morning to rehearse together, to share ideas with each other and to constantly better themselves by exploring beyond their musical comfort zones. As Zairudy jokingly mentions, it took awhile before he could get acquainted with the odd time signatures that the band usually play in. This act of challenging each other musically has since become a crucial element of the band’s creative process, especially as they tackle the obstacles that come with writing an instrumental song.

Using the analogy of painting on a blank canvas, Rudy elaborates that each song begins from improvising together in order to “calibrate the members’ approach or ‘feel’ towards a tune”. The band will then set the rhythm in place and carve out a general structure of the song. In short, the members are learning how to utilise their instruments as the vocabulary through which they articulate emotions and appeal to listeners.

“That has been the challenge that has been bugging us every Sunday morning,” Harith admits. “We have been dissecting our songs and asking ourselves, ‘If I were to listen to this in the car, or on the way back from work, would it be a satisfying listening experience?”

That evening, as I sat in their cosy studio amongst the tangle of guitar wires listening in on their rehearsal session, it felt certain that the band’s endless musical experimentations have paid off. The initial cloud of guitar distortion and hazy reverb cleaves to welcome melody lines so distinct and assured that I could not help but nod my head to its flow. My eyes curiously followed the pairs of white socks that were busy fiddling with the complex guitar pedalboards. Harith strums his guitar while looking at a slim piece of white cardboard with an indiscernible arrangement of numbers and letters scribbled all over — which I am later informed is a homemade instruction manual for his guitar effects.

Music for the Common Singaporean

Photo by Baybeats Budding Photographer 2024, Hanim Yahman 
geared by Camera Rental Centre Singapore 

Despite a technically challenging creative process, the band is the furthest thing from being pretentious or inaccessible. Sincerity is at the forefront of everything they do, and they aspire to become a “Cai png (economic rice commonly found in hawker centres) instrumental band”, as Harith so affectionately puts it. As four working adults who hold day jobs ranging from a treatment coordinator in dentistry to a journalist, striving to juggle their artistic endeavours alongside work and family commitments, Sindo hopes to make what Mingo describes as “relatable” music for the common Singaporean. Music that is warm and welcoming to audiences of all creeds and cultures, just like a hearty plate of cai png.

And so, no matter what the true meaning of Sindo may be, it is more than appropriate to centre the band around this building—the humble backdrop for the band’s after-work practice sessions. Their upcoming Baybeats performance, which will feature unreleased material from their forthcoming EP, shall offer a glimpse into what happens in that cosy studio hidden amongst rows of offices and warehouses, where the band tirelessly innovate and reinvent with their instruments.

Catch Sindo at Baybeats on 13 Oct 2024, Sun, 5.30pm at Arena (DBS Foundation Outdoor Theatre at Esplanade).

Garage rock duo The Storms Upon Us set to electrify Baybeats 2024

By Quek Yee Kiat

Photo by Baybeats Budding Photographer 2024, Cheryl Tan
geared by Camera Rental Centre Singapore 

The Storms Upon Us is a two-piece garage rock band featuring vocalist and guitarist Nathan Mark, 25, and drummer Teo Kai Wen, 28. The band’s bio marks 2018 as their official start, yet their beginnings trail back to their days in ITE College Central.

Having played the timpani and drums in his primary and secondary school bands, Kai Wen joined the ITE’s Central Music Club as a metal drummer when he entered the school in 2013. Three years later, he auditioned Nathan, a self-taught electric guitarist, and immediately saw the “potential” in him. It was no wonder that they got along, and began jamming in mutual bands. 

Fast forward to 2018, Nathan called Kai Wen down for a session at the now defunct Plugged Studios. “We did it in one swing,” Nathan proudly recalls, “it was a chemistry made to be.” Partly inspired by American noise rock duo Lightning Bolt, their band name makes it clear that “everything [they produce] really, really feels electric”. 

“Grabbing onto the wave” of garage rock revival, their music surprisingly seeks film influences from the likes of Quentin Tarantino and Stanley Kubrick, fusing Nathan’s blues guitar and Kai Wen’s metal drumming, sometimes even “experimenting” with unconventional instrumental pairings, to create music that “no one else was doing”.

With that, the duo obviously needed to source for studios that would allow them to “blast” their improvisations. As enterprising young punks, they found locations to jam (albeit illegally) in LASALLE, and even had their raw three-demo collection, Demo Tapes, recorded on a Huawei phone. They later moved on to Treble Cube, where they audiotaped a series of eight tracks, including reworks of previous releases and new songs, most of which have not been released to date.

The weather was not always on their side. After getting into Singapore Polytechnic, Kai Wen got caught up with schoolwork and activities, and the band went on hiatus. “I felt that he was going to leave,” Nathan recollects solemnly. But Kai Wen eventually came back and they “decided to jam again”.

Photo by Baybeats Budding Photographer 2024, Cheryl Tan
geared by Camera Rental Centre Singapore 

The Storms Upon Us have indeed come a long way. Since landing their first gig at Bones ’n Barrels in 2019, where they performed to classmates and an American family, they have gone on to play at gigs such as FEEDBACK’D, LASELLE RIF, and ITE Rock Central, and finally feel “accepted into the community”. 

And the band is ready to “get bigger and bigger” with their Baybeats debut. To them, it is about “dominating stages rather than the festival name itself”, and they are excited to “join along for the ride”. They credit music veterans Isa Ong (Pleasantry, Amateur Takes Control) and Amin (Generation 69) for helping them to “take a step back”, and honing their new sound—Kai Wen has “already broken three pairs of drum sticks” practising his rimshot, meanwhile Nathan is experimenting with different amplifiers for his guitar mix.

Photo by Baybeats Budding Photographer 2024, Cheryl Tan
geared by Camera Rental Centre Singapore 

With a month to go before Baybeats, they remain tight-lipped on their setlist. It is no secret though—seasoned originals such as My Ramblin’ Two’s, Sally’s Machine, Hardbreak, and Passenger are available on music streaming services, while snippets of new material have been making rounds on their Instagram and YouTube channel. They expect to officially release singles gradually in the upcoming months. 

Before they do so, be sure to come on down to the Baybeats Arena (DBS Foundation Outdoor Theatre at Esplanade) on 12 October 2024, Saturday, 5.30pm to rock some electric blues with The Storms Upon Us.