As Sahar was formerly known as Ethos, started out a thrash metal band way back in 1987 during the golden era of German thrash eg; Sodom, Poison, Destruction and some additional bands like Mercyful Fate, Venom, Hallows Eve, Postmortem & Bathory. Those were the among bands early influences and inspirations by As Sahar, but to find their own identity it had been mixed into a melodical and atmospherical tune of black metal throughout the journey.
The Trinity
The band was founded by Malik Hanael on bass and Sam Uriel on drums. Malik’s younger brother One Barchiel joined to be guitar/vocal for the band as the efforts to find a suitable vocalist failed. Some compulsory factors hindered the band’s recordings and therefore it takes some time for the band first recording of a 2 track promo-tape in July 1993. The promo-tape gained good reviews from fanzines worldwide, which motivated the band to move further releasing the “Primitively Eastern Winds” demo, a demo in the vein of nordic black metal concentrated on melodic riffs with depression aura, selling up to 700 copies worldwide in the same year (more now considering the re-released versions from Nebuila Production). While As Sahar’s type of black metal was highly acclaimed by listeners regionally & worldwide, fans starved for more releases from the band. After the "Primitively Eastern Winds" demo the trinity of Malik, Sam & One went into “Meditation” searching for their own identity, they wanted As Sahar to be something different, creating a new black metal phenomenon of themselves. The result was their new ep title “Santau” released in 1995, “Santau” was rich with nunsantara archipelago mystical values. A music that touch on traditional malay melodies and lyrically the band sang of sorcery, black magic and the supernaturals of malay archipelago within the region which they saw these as a nationalistic sentiment. “Santau” was then licensed for release in the Malaysian market by Nebuila Production bearing a new title "Meditasi Embun Pagi" and became a creator, a pioneer of what is best termed as malay oriented black metal, even new rising bands emerged within the region idolizing As Sahar, using the same musical ideologies.
Tombcrusher Iblyss
Sam Uriel left the band shortly after the released of “Santau” due to personal commitments. It didn’t take long to find Sam Uriel’s replacement - Iblyss a known figure from two local greats band in Singapore; Abhorer and Impiety. His first tasks were to record 2 tracks for Storm of Nebuila Compilation released by Nebuila Production in 1996. The new line-up with Iblyss (the tombcrusher) on drum took part in many gigs around the semenanjung tanah with a firm fan base both in Singapore and also Malaysia. Nebuila Productions released the band first full-length album “Phenomistik” in 1996, an album which creates a new arising phenomenon from the previous “Santau” ep. As Sahar continued thier dominion locally with new set of metarial “Beyond Firmament” a split album with Hayagriva, band from Ipoh in 1998. The split album was a special project by both band and release under Memories Records. “Beyond Firmament” confirmed the band’s status as an emblem for metal with malay magickal essences. Iblyss end his journey with As Sahar, accomplishing his path with 3 (Abhorer, Impiety, As Sahar) of the most pioneer band ever in Singapore and was replaced by Fauzzt, from a band called Hail and as well session for Kibosh Sybil Kismet.
Downfall
"Baku Karama" was released in 1999 by Nebuila Productions and lead a big shocker for As Sahar fanatical followers. There was a drastic change of concept and it wasn’t black metal, it was a roots of Rock in the era 80’s highly influenced by D’Febians, Helter Skelter, S.Y.J Sofea etc ... and sent fans drifting away with confusion.
The Returned
By 2001, Malik Hanael was no longer in the band (apart from concentrating on his own band Requiem) which left One Barchiel alone to continued the reign of As Sahar experimenting and producing “Intifada” album in 2001 with the help of few sessionist like Jadam from Necrotic Chaos / Gorb / Profane Creation and also Dark E from Sil-Khannaz / Vociferation Eternity. The album had at least of what they used to be and those fans who deserted had returned, making "Intifada" into the Top 20 of Malaysian top-selling albums. Nebuila Productions re-release As Sahar’s 1993 “Primitively Eastern Winds” demo under a new title “Casus Luciferi” and also a live set recording from 1998 Penang Noctournal War gig on the same year entitled “Bomohymns Okultika”. Malik Hanael returned in 2002 recruiting Najasakthee of Hayagriva on drums composing “Al-Rischa” under Nebuila Production on November that year which bring back the memories of “Phenomistik” days. The new release goes about estronomy and the mysteries of it’s colossal connections, Najasakthee had delivered well in the recordings and exit himself from the band after “Al Rischa”. In 2003 One and Malik got Nebuila Production to release their rare & unreleased materials “Devillation Masters” demo. A demo which had an aggressive combination of Thrash and Death metal influence, originally recorded in 1994 with the first line up. “Devillation Masters” was a bonus for As Sahar’s fanatics as the band decided to take a 2 years silent, meanwhile Malik got himself involved in other bands such as Istidraj and Sadiztik Impaler. As Sahar were ready to record their new materials with Sam Uriel on 2004, re-joining the two brothers for the recordings of the 5th full-lenght album "Jaan" the essences of evil qualities and was released by Nebuila Productions in July 2005.
Tir Bugis
As Sahar has returned to refurbish their once glorious majesty, releasing another 2 full-length title "Tir" and "Bugis" was a vast change of speed and the result was excellent, creating a hyperblast beats, yet with just being raw superficial material ever. Improving installment has been made, with Akhzareth on drum in the new line-up and As Sahar was back on top list of every black metal event in Malaysia until 2011 an announcement was made at the Kuala Lumpur Metalkamp IV, One Barchiel quit As Sahar .
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