Father Tabakis, an Orthodox priest based in Thessaloniki, Greece, has released a unique album titled *Paradise Metal* that blends Byzantine musical traditions with elements of heavy metal, rap, and techno. The project, which debuted through the local music label Elhellell, reflects a rare fusion of sacred themes and modern genres, challenging conventional boundaries within religious music.
Tabakis, who is also skilled in playing a variety of lesser-known Byzantine instruments such as the cümbüş, kabak kemane, yayli tanbur, zurna, ney, and lyres, began recording his own compositions about four years ago with minimal resources. His son introduced him to music production software, while his neighbor helped him learn guitar. Vocal contributions came from Evgenia Simela Armeni, a 23-year-old church acquaintance who recorded her parts independently. The priest initially shared his music on YouTube without aspirations for fame, growing a modest following of around 4,000 before catching the attention of Nikolas Rafael, Elhellell’s founder. Rafael contacted Tabakis through a Christian online forum and proposed producing a full album.
*Paradise Metal* is marked by its experimental nature, with tracks featuring resonant chanting alongside unexpected sonic elements. For example, the opening track "Techno in a Monastery" begins with a chant layered over an underground electronic beat, merging sacred and contemporary styles. Tabakis describes music as a form of exploration, citing the Greek poet Yiannis Ritsos and etymology of the term “metal” (from the Greek “metalláō,” meaning “to mine” or “to explore”) to explain his artistic approach.
Although his work contains religious motifs, Tabakis does not frame himself as a political artist, but some songs engage with current events. “Dubai Paei” (“Bye, Dubai”) is inspired by recent Middle Eastern conflicts and the flight of residents from the United Arab Emirates amid hostilities, drawing parallels to the biblical imagery of Babylon’s downfall. Other tracks, such as “Flexareis Karga, Ekklisiastiki Rap” (“You’re Flexing Big Time – Church Rap”), use contemporary slang in an effort to bridge generational and cultural gaps.
Despite his unconventional musical venture, Tabakis remains committed to his clerical duties and does not intend to pursue music full time. He notes that some within the Orthodox Church might be cautious or critical of secular musical expressions, but he dismisses concerns equating popular music with spiritual harm. “God is tasteful,” he asserts, emphasizing that creating beauty through music honors his faith.
His family, including his daughter who is a tattooed photographer living in Athens, is largely secular, reflecting Tabakis’s choice not to impose his religious passions on them. Regarding reactions from fellow priests, he suggests a mixture of tolerance and quiet competition, with some clergy possibly more interested in power than spiritual leadership.
Tabakis approaches the prospect of live performances with a mixture of self-deprecating humor and philosophical reflection, admitting feeling out of place but willing to share his music if it brings others joy. *Paradise Metal* is available through Heat Crimes and Elhellell, marking an unusual but intriguing chapter in the intersection of faith and contemporary music.