Interview: Tabernacle (UAE)

5–7 minutes

The Nwothm

Dubai might not be the first place people think of when it comes to epic heavy metal, but Tabernacle are changing that perception. Formed in 2019, the trio channel the spirit of classic US and European heavy metal with adventurous song structures and tales of underdogs, history, and resilience. From their raw demo Terror in Thrace to the ambitious full-length The Iron Tabernacle (2025), they’ve proven that heavy metal’s fire can burn anywhere — and they’re only just getting started.

https://www.youtube.com/watch?v=0V7jkoBqyk0

Interview

TheNwothm: Greetings! Can you please introduce the band and where you are from?

Tabernacle: Thanks for the platform! We are Tabernacle, a three-piece based out of Dubai. Shawn on drums, Ashwin on bass and myself (Rayner) on guitars and vocals. 

TheNwothm: How did you get together and choose the band name?

Tabernacle: We got together in 2019. Shawn and I were playing Priest, Accept and Satan covers for a few years before that. We got a full lineup together in 2019, with former members Jasper and Yasir on bass and guitars respectively, and started putting together the songs that eventually made their way on to the demo. The band name comes from Manilla Road’s ‘Morbid Tabernacle’.

TheNwothm: Dubai isn’t the first place people associate with epic heavy metal. Has that worked in your favour or made things more challenging?

Tabernacle: The most obvious challenge is that we’re located so far from where our target audience is so we’re not as ‘visible’ to them as we would have liked to be. But we have the resources here to rehearse and record so it’s not too bad at all.

TheNwothm: What’s something about the UAE’s music culture or local scene that outsiders might be surprised to learn?

Tabernacle: The local scene has been growing over the past couple of years. Post-Covid we’ve had bands like Destruction, Aria, Incantation, Heathen and a whole bunch of other big names play here. Not much of a crowd for heavy metal, but the extreme stuff has a decent growing fanbase.

TheNwothm: What’s your take on the current state of the heavy metal underground? Anything you’d like to see more of?

Tabernacle: I think there are some fantastic bands going. Demon Bitch, Chevalier, Eternal Champion, etc are somehow putting out some very interesting music in a genre that’s 55+ years old! I would personally like to see more bands in the style of the old US metal scene- the sound of Helstar, Liege Lord, Jag Panzer, with the over-the-top banshee vocals. Or a proper John Arch-era Fates Warning type band. Those styles are very challenging to play and sing though of course, so maybe that’s why we don’t see that a lot. 

TheNwothm: What’s your current live or studio setup in terms of gear? Any favourite pieces that never leave your side?

Tabernacle: The studio setup for us is usually pretty meat and potatoes. For the guitars, it’s usually just a mic’d amp. We used a Tube Screamer for the demo coz we were recording at home and couldn’t crank up the amp. What never leaves our side is the instruments themselves!

https://www.youtube.com/watch?v=KSKXgXvCp_M

TheNwothm: Your first demo was “Terror in Thrace” (2021). What’s the story behind that title and how did the release come together?

Tabernacle: ‘Terror in Thrace’ was based on a little short story written by our former bassist set in the time leading up to the Battle of Adrianople, about a woman named Bludwyn fighting the injustice and corrupt Roman powers, after her husband was slain fighting for them. The songs themselves were influenced by such acts as Manilla Road, Omen, Warlord, and some doom. We recorded that one in a garage we were rehearsing at! 

TheNwothm: Fast forward to “The Iron Tabernacle” (2025). What was the vision behind this full-length, and how did the writing or recording process differ from your earlier work?

Tabernacle: The idea was to get more “adventurous” with the song structures, while keeping them memorable of course. We didn’t really want to do the ‘verse-chorus’ type of structure or songs that end exactly where they started. I think we were able to pull this off best on “These Crying Seas”, and with the next batch of songs the arrangements will get more seamless which is ultimately the end goal. Lyrically, all the songs are underdog tales. The most special to me personally, is the story of Malik Ambar- an Ethiopian man enslaved and sold in India by Arab merchants who rose to become ruler of the Deccan area. 

TheNwothm: What is the most meaningful song to each of you off the record?

Tabernacle: “These Crying Seas” for Shawn and myself, just by virtue of being closest to what we set out to do. Ashwin prefers “The Curse of Akkad”

TheNwothm: Has living and creating in Dubai shaped your sound or lyrical themes in ways you didn’t expect?

Tabernacle: In terms of lyrical themes and sound, not really. We all got into this kind of music by just mucking around on the internet a long time ago. Being here has given us a lot of opportunities to play live, though, so that has certainly helped.

TheNwothm: What’s something about one of your bandmates that fans would never guess?

Tabernacle: We all like Depeche Mode, The Bee Gees and Abba.. a lot!

TheNwothm: If Tabernacle had to swap instruments for a full set, who would be the most chaotic in their new role?

Tabernacle: Shawn on guitars coz his fingers are too big. 

TheNwothm: Is there new material already brewing post-Iron Tabernacle, or are you letting that one breathe for a while?

Tabernacle: There is some new material, and we intend to keep writing through 2026 and have something ready the following year. We are planning on doing an EP or a split release and a second album eventually.

Thenwothm: Any plans to take the band beyond the UAE for live shows? Where would you most love to play if the stars aligned?

Tabernacle: We would love to play in Europe because that’s where it seems most of the fans of this style are. I’ve been to Greece for Up the Hammers fest and that was quite something. Never seen a crowd sing along to most riffs in unison before!

TheNwothm: How can our readers buy your music and merch?

Tabernacle: CDs of the album are available via Stormspell Records and many Euro distros. There will be tapes through Greylord’s Hoard and vinyl through Alone Records soon. We also have it up on our Bandcamp. 

TheNwothm: Where can fans follow you online?

Tabernacle: Instagram (@tabernaclemetal), Facebook (tabernacle.metal) and Bandcamp (tabernacle-hm.bandcamp.com). The demo and album are on all the usual streaming services as well.

TheNwothm: Anything else you would like to mention?

Tabernacle: Be on the lookout since we have some plans for the coming years. Heavy Metal till the end! 

#DubaiHeavyMetal #epicHeavyMetal #NewAlbum #NewWaveOfTraditionalHeavyMetal #NWOTHM #Tabernacle #TheIronTabernacle #thenwothm #thenwothmCom #UAEHeavyMetal

Review: Tabernacle “The Iron Tabernacle”

Release date: Out Now

Label: Stormspell Records

6 minutes

The Nwothm

Epic power doom with mystical progressive vibes. Formed in 2019, Tabernacle channels the spirit of Manilla Road, Omen, and Viking era Bathory into a sound that is hauntingly melodic and crushingly epic. Emerging from early Judas Priest–inspired roots, the trio of Rayner (guitars and vocals), Jasper (bass), and Shawn (drums) forged a darker path with their 2021 demo Terror in Thrace. Their debut full-length, The Iron Tabernacle, expands that vision with progressive flourishes reminiscent of Fates Warning (The Spectre Within) and Adramelch (Irae Melanox), weaving tales of ancient bloodshed, fallen empires, and spectral tragedy. For fans of Scald, Vendel, and the arcane edge of epic metal.

Release features:

  • Jewel Case release with multi-page booklet featuring info, credits, lyrics, band photos
  • Debut album by the Middle Eastern epic power doom combo with historical themes and progressive influences
  • CD pressing limited to 300 copies worldwide

Review

Treasure Voyages is the intro song on the album and straight away there is an instance of calm. Acoustic guitars come in playing gentle, soft melodies against an airy backdrop and toms and eventually a weird synth which felt a bit out of place. But I love how easy going this intro feels. It almost feels emotions in passing. Great little start

Hannibal’s Crossing comes in like a neanderthal or troll with a club hunting down an enemy. The guitar tones are gritty and the whole low tone of the music gives it this edge, this sinister feel. Imagine riffs that feel meaty, something that you can really sink your teeth into and chew on. This style of heavy metal feels like a reflection of a cave dweller, or something dark that you would not want to cross paths with. In terms of pace the song remains steady throughout keeping everything tight and locked in. It is when the solo hits that the pace drops down to slow swagger helping listeners really get into the riffs. There is am interesting part of the song where the riffs start to break up and bits begin to dissolve where we the bass comes through.

On the Bloodied Fields of Westphalia opens with a flash of drums before dragging us into the riffs. Just like Hannibal’s Crossing everything feels very organic and at the same time slightly eerie. There was a moment where some of the riffs reminded of megadeth’s Five Magics but more earthy which was pretty cool. One vibe I do get from the music is that it feels very casual, a looseness to things and I am not sure if that is a good or bad thing. Almost if you have woken up from sleepless night. The music so far leans into epic/heavy-doom territories giving the music some weight, which to be honest suits the vocal style. Either way the song remains in that mid tempo kind of spot with raw riffs and an authentic feel.

The Curse of Akkad comes in with gliding strings before the rhythms and bass drop in. The music has this hopping feel in terms of the riff delivery adding some character to the music. Sometimes I do get this feeling that things are being pushed or trying to be held together, just down to how loose and relaxed the music is played. I am not sure if that is down to musicianship or the attitude of the members but It feels odd and a bit strange.There just feels like there is a lack of punch and I got this feeling in the last two tracks. The one thing that this song does deliver on is the chorus. The layered vocals and the vocal melody itself sounds very exotic like it is from distant sands. This shows when the creativity spark ignites and shows off what can be achieved.

The Legacy of Malik Ambar starts of with guitar effects before transitioning into the main body of the song. The music itself at times just feels sleepy and mellow in ways yet the rhythms jolt emphasising drum hits. All of this is going on while the bass wonders along in thought projecting its mind out loud. There are some interesting riffs going on but I am waiting for something to jump out and excite me. Maybe I am bias as I am more into faster stuff but even the slow feel of things is not hitting very hard. This is a track of almost 9 minutes and when we approach the second half of the song it feels like it could have been a second song. There is slightly more play in the pacing but the length for me started to burn my interest admittedly. It did pick up towards the end which woke me up slightly but I wished that been more present in the song.

The Dawn Weeps makes me think of of some space bing talking with the subtle strings and organ esque gently playing in the background. The spoken passage definitely captures your attention and is a surprising change in the rhythm of the album. But I am curious how it fits into the whole narrative of the album.

These Crying Seas is the final track on the album and once again takes a mid tempo approach with cascading riffs and rumbling drum ideas. The verses step up with the vocals a little bit as they feel brighter and a bit more creative in direction. In general the music leans on more weighty hungry riffs to drive the song forward. The tempo does pick up and It is a refreshing change in an album which sits predominantly at mid tempo speeds. Either way the riffs still feel dark and creepy which has been the majority of the record. Another solid and straightforward song that takes the album out.

Conclusion

Taken as a whole, the album feels like a band still exploring and developing its sound. There are moments of atmosphere and flashes of creativity, particularly in the choruses and occasional shifts in pacing, but much of the record sits in a mid‑tempo zone that doesn’t always deliver the excitement or punch it seems to reach for. The looseness in performance adds a raw, organic quality, yet at times it drifts into casualness that undercuts the impact. What emerges is a body of work that shows promise and identity in formation, but also leaves the sense that the band’s most compelling statement is still ahead of them.

TheNwothm Score: 7/10

Links

Bandcamp: https://tabernacle-hm.bandcamp.com/album/terror-in-thrace

Facebook: https://www.facebook.com/tabernacle.metal/

Instagram: https://www.instagram.com/tabernaclemetal?utm_source=qr

Label: https://stormspell.bigcartel.com/product/tabernacle-the-iron-tabernacle-cd-preorder

https://www.youtube.com/watch?v=KSKXgXvCp_M

Read More Reviews

#doom #epicHeavyMetal #heavyDoom #HeavyMetal #NewAlbum #NWOTHM #Review #stormspellRecords #Tabernacle #TheIronTabernacle