"This is Lebanon, not Disneyland"

Lebanon, a country where for decades political unrest has formed a fractured social climate. Bordered by Syria and Palestine, Lebanon gained independence in 1943 and has become, despite its recent history of civil war and conflict, a place of rich cultural diversity and economic stability. But it is that conflict that lights the fire in the belly of Waddiah Rabbiah Chami, the self-proclaimed Maronite Resistance Unit; and upon listening to his works as Koufar, Bachir Gemayel et al it is evident that his ancestory as a Lebanese-American provides more than merely a gimmick, acting rather as an impassioned voice (both literally and figuratively) that perfectly compliments the sonic extremes beneath. Life, for those who need convincing otherwise, is not peachy and Waddiah Rabbiah Chami has a lot to be angry about.

Interview conducted summer 2010.

- First of all, congratulations on the new Koufar release, The Purity of the Cedars. It was like a grenade went off in my head on first listen. How did this release come about and what brought you to this point?

WRC: Thank you very much Rich, Its been a long time coming and I'm very pleased to finally see it come out. This release was actually conceived a little over a year ago actually. At the time I was just starting out and Uri from Topheth really liked what he heard, shot me a message and I was more then honored to work with him, especially because he understood the backing themes of Koufar.

- How did you get into the "scene" in the first place?

WRC: I got into the "scene" of sorts by deciding to give noise a shot and ever since my first show I was hooked. Shortly started to piece things together and eventually started making sounds. Then I heard Brethren's "Savage Inequalities" CD and my brain exploded. Follow that up with MITB and Bastard Noise and pretty much that got me into doing PE and where I am now.

- You've mentioned you're winding down Koufar action, do you feel that you can take the name no further or is this as a temporary measure only?

WRC: As of now Koufar is going to be taking a little break of sorts. It will only be temporary but for how long, who knows? I want to explore other things. I do have four more releases in the works to come out still.

- Your background and heritage plays an important and extreme role in much of your output through Koufar, Bachir Gemayel etc. - what kind of reactions have you had to this?

WRC: The reactions I have had have been quite varied. Some people show great interest and are curious, while others I'm sure are bored or don't understand why I'm so upset. In the end it doesn't matter much to me.

- The militant approach to your subject shows little mercy for the listener. Have you come across any kind of prejudice or extreme reaction when in the live environment?

WRC: I've never really encountered much adversity due to my content. I have no fear of playing clips that may be viewed as provocative and will continue to do so in the future. The same goes in terms of the lyrics that I write. There have only been two instances where my themes have caused trouble for myself but regardless I carry on.

- Koufar and Bachir Gemayel are sonically quite different sides of the coin. Do you find this difficult to maintain? Is there anything you've written for one that you feel would lend itself better to the other, or even any of your other projects?

WRC: It isn't too difficult to maintain, I feel that the two are completely different and do not lend themselves to each other in any way really. Sometimes now when I'm piecing stuff together for Disgust I often wonder what it would be like to use that for Koufar.

- How much does your setup vary for each project? Do you use certain tools under each name or is it more about the process you go through to achieve your noise that makes them sound different rather than a unique array of hardware for each?

WRC: The setup for the projects have all been very minimal and basic. I interchangeably use the same items, but either place them in a different part of the chain or tweak them differently.

- Disgust by contrast is the most thematically different work you've got yet still full of spite and hate. What was the rationale for starting this group?

WRC: The rationale for beginning for Disgust was plain and simple: fury. We both wanted to do something that reflected how upset we were in the most honest way possible. That and a love for powerviolence, but translating it through power electronics.

- There have been a few changes to the lineup [of Disgust], was membership intended to be fluid?

WRC: Membership was not intended to be fluid but shit happens and so I've rolled with the punches. Honestly it was for the best and now with Adam (Winters in Osaka, Paucities) and Jon (Custodian) I am quite pleased with how things are going. However I can say there may be another addition in the future potentially....no guarantees though.

- Have you found a more comfortable outlet in Disgust than your other projects, or does it just scratch the same itch in a way that your other work doesn't?

WRC: Not so much as a comfort, but I love doing Disgust so much because I missed working with other people. However, I will say that Disgust does make as a powerful release for my anger and frustration in general...something about it sets me off.

- You've dedicated the new album to your father but note that this is neither for his understanding nor agreeance with Koufar. How does your father/family react to something so deep-rooted in your/their cultural identity and ancestry?

WRC: Honestly my family in Lebanon does not know about the project and as much as I can I will probably leave it as that. They will not understand and they never will. As for my father he understands that I love to do this, even though it goes over his head.

- Chicken/egg question; did power-electronics/harsh noise present itself as the logical outlet for your personal ideology or did your personal ideology present itself as the logical theme for your power-electronics/harsh noise?

WRC: My personal ideology presented itself as the theme. Figured after looking around when I first started and realized that no one was really attempting to breach that, so I wanted to have something that I could call my own.

- What influences are key to you, musically or otherwise, aside from your nationalism?

WRC: NO COAST POWER ELECTRONICS
Man is the Bastard
Bastard Noise
Turkish Coffee
Misbaha Beads
Mania
Brethren (Have a problem with it? Too fucking bad.)
Wince
Tabasco Sauce
Drinking (Whiskey and Arak)
K'nafe (Lebanese breakfast)
Chain Smoking
Kahlil Gibran
Despise You
Hank Williams
Oum Kholtoum
Abdel-Halim Hafez
DJ Screw
Cuts and nicks on my hands
Constant frustration with existing in this fucking life.

- HNW seems to be a polarising "movement" (no pun intended), what are your thoughts on this and where does your ideology fit in amongst a community like this?

WRC: I know many people get up in arms over its discussion but for the most part I try to stay out. Yes I participate in it and I also feel that my ideology fits well within the genre.

- Where now for you?

WRC: Attempting to make the most out of the post-graduate life and continue with the current projects. Also putting together a new label.

Disgust tour coming to Canada in 2010. Real talk.

Thank you and respect to Waddiah Rabbiah Chami for taking the time to answer my questions.