Yahav Lipinski
- FaceOff - עימות חזיתי
- 3 days ago
- 12 min read
From a small room in Netzer Sereni, through stages with Israel’s top artists, all the way to the spotlight of Israel’s biggest rock band…
Ladies and gentlemen, please welcome Yahav Lipinsky!!
The drummer of “HaYehudim”, for whom drums are far more than an instrument…
they’re a way of life, a passion, and a pure obsession.
= Yahav was born on November 22, 1975 and grew up in Kibbutz Netzer Sereni.
= During his childhood he lived in Germany for about three years while his father was on a mission managing a local Zionist youth movement on behalf of the Jewish Agency.
= At the age of 11, during a winter camp in Italy, he was exposed to drums for the first time and was instantly captivated. Since the drummer there always took his sticks with him, Yahav searched for a way to play and used wooden kitchen spoons as makeshift drumsticks.
= At age 12 he would walk around all day, drumming with his teeth. His father noticed his enthusiasm and bought him his first drum, a snare for ten Deutsche Marks. He also found him his first teacher, a German keyboard player named Tom, who taught him to play songs rather than drum techniques.
= When the family returned to Israel, Yahav continued learning drums with Chaim Ben Yakar, a local musician and conductor who taught him theory, sight-reading and classical pieces. In parallel he learned from veteran musicians in the kibbutz who contributed greatly to his development, including Ilan Katchka.
= During this period he began playing in a small room beneath the kibbutz Live Shows Hall, where rehearsals of leading Israeli artists took place. His room was directly under the stage, and stage technicians would often come down and remove him because of the noise.
= His first truly formative live-music experience was a concert by "Rita" at the kibbutz hall in 1988, where drummer Alon Hillel performed. The production, the sound and especially Hillel’s drumming were so powerful that 13-year-old Yahav realized in that exact moment that this is what he wanted to do when he grew up.
= From that day on he became completely obsessed with drums, diving into every detail he could learn and explore about this instrument.
= He grew up mainly on the music his parents listened to, such as "The Beatles", "Elvis", "Simon and Garfunkel" and more.
= The first album he ever owned, received as a Bar-Mitzvah gift from his aunt, was by drummer Bill Bruford, who was also the drummer for the progressive rock band "Yes". He also vividly remembers watching a televised "Guns N' Roses" concert on Israel’s experimental Channel 2, where he was exposed for the first time to distorted guitars and explosive rock drumming.
= During one of the rehearsals at the kibbutz (a rehearsal of Gidi Gov and Yehuda Poliker), while he was practicing in the small room beneath the stage, he suddenly heard loud banging on the door and shouting. When he opened it, he found himself face to face with Nir Zidkyahu, then a 20-year-old drummer who would later become one of the top studio drummers in America. Instead of scolding him for the noise, Zidkyahu told him “you play nicely,” helped him tune the drum set and adjust all the hardware, and then invited him to come upstairs to the rehearsal hall so he could listen without disturbing the session. He seated him quietly in the corner and asked him to watch without being noticed. Yahav spent many days like this, sitting silently, observing and learning from some of Israel’s greatest musicians.
= At age 14 he moved with his family to Nes Tziona and wanted to buy a proper drum set. On one of his walks through the neighborhood he heard someone drumming inside a house and called out from the street. The drummer invited him in, and shortly after, Yahav’s father bought the drum set from him for just a few hundred shekels.
= He searched for a professional framework to study drums, and at that exact time a new music school by “Klei Zemer” opened in Nes Tziona. He enrolled and discovered that his teacher was none other than Nir Zidkyahu. He studied there for several months alongside leading instructors such as Erez Netz, Ziv Harpaz, Michel Amar, Yossi Bozin and others. Yahav says that with Nir he learned to execute everything with maximum precision, including styles and rhythms he didn’t initially connect to, such as jazz and Latin. Nir had a tremendous influence on Yahav’s playing style and on the way he approaches the drum set as a whole.
= At age 16 he continued his studies with Shaul Shuval (Nir’s teacher) at the “Metronome” school in Tel Aviv, which at the time was the only drum-focused school in Israel and a true pilgrimage site for drummers. There he dove deep into the smallest technical details of drumming.
= During high school he began performing with various cover bands in clubs around Rishon LeZion. His father would drive him to every gig, and only years later did Yahav discover that his father stayed quietly in the audience each time and watched the shows. Around the same period he also began teaching drums himself at the "Klei Zemer" school in Nes Tziona.
= At the same school he reconnected with Erez Netz and bassist Avi Strol. Erez took both Avi and Yahav under his wing, mentored them, invited them to shows, rehearsals and soundchecks, and occasionally even had them join him onstage.
= From Erez he received his first recommendation for a professional gig, a show with "Shimi Tavori", which became the true starting point of his professional stage career.
= A remarkable story from that time: Yahav’s father, whose son was only 17, insisted on meeting "Shimi Tavori" before allowing Yahav to travel and perform with him (including abroad). Shimi agreed, came to meet the family, and even performed a private concert in their living room.
= One day a unique performance took place above the music school in the small Nes-Tziyona Mall "Knyoter", a jazz/fusion show by the late drummer Asher Fedi and an unknown guitarist. The show left a deep impression on Yahav and led him to study drums with Asher for a short period.
= Around that time Yahav played everywhere and with every possible lineup, from small club cover bands to weddings and events, and even with well-known acts such as "Hakol Over Habibi" and "Avi Toledano". This time allowed him to meet many musicians in the industry, including Itzik Solam.
= In 1995 he joined the rock opera “Tzevaoni Shachor” as a substitute drummer for Yuval Lyon. The opera, produced by Micha Shitrit (HaChaverim Shel Natasha), was written by Ron Solonim and Eyal Paran, sung by Alona Daniel, with guitarist Itzik Solam, the same Itzik who would later introduce him to his future band.
= Itzik Solam, who was already playing with Tom Petrover and Orit Shahaf in their emerging band “HaYehudim”, invited them to see Yahav perform. They were immediately impressed, sent him tapes with songs, and invited him to an audition at the “Feedback” rehearsal rooms in Tel Aviv’s central bus station. The musical chemistry was instant. At one point they even asked if he could play harder, that was when Yahav knew he was exactly where he belonged.
= In 1995 “HaYehudim” completed the recording of their debut album “Metziut Nifredet”. The album received an unusually large budget from the Hed Artzi label and featured Orit and Tom, Shmulik Budgov on guitars, Eran Mitelman on keyboards, Avi Yifrach on bass and the late Asher Fedi on drums.
= “HaYehudim” wanted their debut performance to take place on the album’s release date and not before, so they began preparing for the big moment. Yahav replaced Asher on drums, Itzik Solam replaced Budgov on guitars, and the band poured every resource and every drop of energy into what was supposed to be their breakthrough, the opening slot for "Aviv Geffen" at the Arad Festival in front of tens of thousands of people.
= But the breakthrough never came. The "Arad Festival Tragedy" led to the cancellation of the entire event, the cancellation of Aviv Geffen’s show, and naturally the cancellation of “HaYehudim’s” debut performance. As a result, the band held its first-ever show parallel to the album’s release at the small “12th Night” club in Ramat Hasharon, where only 20–30 people attended.
= “Metziut Nifredet” was released on August 18, 1995. It did not achieve the success the band had hoped for at first, but over the years it became an iconic, timeless album, the band’s most successful work and one of the major milestones in Israeli rock history. To this day, a significant portion of the album remains part of their live setlist.
= If you don’t start big, you start small...
The band believed fully in themselves and in their music, refusing to let anything stop them. The young, hungry group performed in every club they could find across the country, often in front of only a few dozen people, grinding through endless gigs and crossing Israel from end to end. At the same time, they worked any job they could just to finance the band. From then until today, the band has remained the center of each member’s life.
= The label, watching its large investment collapse, decided to cut losses and shut the support down. The project known as “HaYehudim” was handed to Dana Kaminsky, who was placed in a small corner office. Dana believed in the band as fiercely as the band believed in itself and quickly became the engine behind the scenes. She booked shows, handled logistics, managed rehearsals, did sound, and took care of every detail the band needed in order to keep moving forward.
= Over time the band became a phenomenon, and with every show the audience grew, from a few dozen people to hundreds at each performance. Although the debut album was distributed only in limited quantities, it somehow found its way into the IDF ranks, where it spread like wildfire and triggered a nationwide explosion. From hundreds of fans, suddenly thousands of soldiers began showing up, turning every concert into a rock-and-roll force of nature.
= Radio stations completely ignored the band and refused to play even a single track, largely due to the political and cultural shock that followed the assassination of Prime Minister Rabin, which reshaped the entire Israeli music landscape. This media disregard became a recurring theme in the band’s career, mentioned frequently in interviews and milestones throughout the years.
= One of the defining moments came when Haim Shemesh, a key figure at Hed Artzi label, walked onstage during one of their shows, a year and a half after the debut album’s release, and presented the band with Gold records for the sales of “Metziut Nifredet.”
= Feeling they were on the right path, "Rockstars" but without the money, the band entered the studio, and in August 1998 released their second album, a self-titled record. The album was produced with a much smaller budget than the debut and under heavy time pressure from the label regarding both schedule and production demands.
= Three interesting facts about the album…
= During the final section of the song “Lifamim,” right before the line “You got to be free,” Yahav threw his headphones off mid-take due to a tempo mismatch with the keyboards and ended up recording the drum part without any playback at all.
= At the end of one of the tracks (you’ll have to guess which), you can actually hear the tape reel running out. The entire album was recorded on 2-inch reel-to-reel tape.
= Although the band redid the mix and mastering several times, they were never fully satisfied with the final sound and always hoped to remaster the album properly. Years later they learned that the master tapes had been sold to NMC, and the reels themselves had disappeared after being reused for other artists’ recordings. As a result, a new mix or remaster can never be created.
= In 1999 the band won the title “Band of the Year” on the radio station "Galei Tzahal". They weren’t even nominated, yet they won purely thanks to hundreds of letters and dozens of phone calls from fans flooding the station. That same year they opened for "Metallica" at the Amphipark in Rishon LeZion, and a year later they opened for "Rage Against The Machine" at the Cinerama Hall in Tel Aviv.
= In July 2002 the band released its third album, “Pachad Mavet.” The album had a larger production budget and was overseen by Yehuda Adar, but the process was challenging and included guitarist changes. After the album’s release the band experienced a decline in attendance, once again finding themselves performing for only a few dozen people and having to rebuild their reputation from the ground up.
= At that time he felt he was losing some of his passion and inspiration for music, and searched for a different way to reignite that spark. In 2003 he earned a private pilot license for light aircraft with the aviation company "Shirgal-Knafa’im", before he even had a driver’s license.
= Also in 2003 the band released the unique and one-of-a-kind live album “HaYehudim LIVE,” recorded at their home base during those years, the "Theater Club" in Jaffa. The album was released as a double CD and DVD, featuring a new song titled “Ani Ro’eh Dam” as well as the continuation of the song “Milchama Sheketa.”
= The album, which captured the raw stage energy of the band (despite significant sound challenges), triggered a renewed breakthrough, brought audiences back in huge numbers, and once again placed Israel’s biggest rock band at the top.
= Another major factor in this renewed success was the song “Kach Oti.” The live version began gaining momentum on radio stations and, for the first time ever, a song by the band entered the Galgalatz playlist. That same year, Ninet Tayeb performed the track on the reality show “Kochav Nolad,” exposing the band to an even wider audience.
= In December 2004 the band released the acoustic, one-of-a-kind live album “HaYehudim UNPLUGGED,” which for the first time showcased a stripped-down and intimate side of the band. The album documents the acoustic concert held on July 3, 2004 at Heichal HaTarbut in Tel Aviv and broadcast on Channel 24, featuring the band’s hits in raw arrangements for piano and acoustic guitars while still preserving the emotional power and intensity that define “HaYehudim.” The album generated significant media buzz, brought the band to new audiences, and included the track “Im Kvar,” which became a major radio hit and a permanent part of the band’s live setlist.
= In 2005, after a full year of working on their next album, the band decided to take a break and fly to the United States for a music-inspired trip. They arrived in New York hoping to feel and be moved by the local music scene. The experience didn’t quite live up to their expectations (see: the song “New York City”), but they still enjoyed the trip and performed several shows under the name I.U.D.M.
= When they returned to Israel, they came back sharply focused on recording the new album. Unlike previous albums, this time they chose Yossi Hasson, then a young and unknown recording engineer whose story parallels that of Adam Kasper with the "Foo Fighters". Having worked as a sound engineer on the "LIVE" album, Yossi understood exactly what they wanted sonically, and the band felt he could capture and translate their vision. They brought him on as the recording engineer for the album.
= In July 2007 the band released its fourth album, “Forte.” For many fans, this is considered their best-sounding record, an album that manages to capture and convey the full power of the band. For the band itself, “Forte” marked a major turning point: they took full control over the sound and production direction, working closely with Yossi Hasson, who deeply understood their artistic intention and translated it into a precise, powerful result. The internal band chemistry, especially with Daniel Brecher and Guy Beer on guitars, was tighter and more in sync than ever, enabling the band to deliver exactly what it envisioned.
= Between 2008 and 2012 Yahav returned to the “Shirgal-Knafa’im” flight school, this time as an instructor. He was also responsible for operating the digital learning system and developing pedagogical technological tools, eventually establishing the first virtual flight-training school in Israel. From there he went on to study computer science between 2013 and 2017, which led him into the high-tech world. He worked full-time from 2015 to 2019 while still performing and rehearsing with the band.
= In 2019 a turning point arrived. On the very day his company was launching a new software version (a classic startup scenario of 24/7 work), “HaYehudim” had a major concert at Heichal HaTarbut in Tel Aviv. Yahav realized the combination was no longer sustainable. He moved to part-time work and eventually left the employee world altogether to become self-employed.
= In July 2015 the band released its fifth album, “Yoter Lo.” The album featured Nir Maimon on bass and Omri Agmon on guitar alongside Guy Baar and the rest of the band. Although it remains one of our personal favorites, it did not achieve significant commercial success and is only minimally represented in the band’s current live setlist.
= In 2020, during the COVID-19 pandemic, the band halted all activity like many artists around the world. This unexpected break brought the members closer as friends and allowed them to invest more time in their families. Yahav says this period strengthened the human bond within the group, a foundation he believes is one of the main reasons the band has stayed together for so many years.
= On June 1, 2022, a rare and extraordinary event took place for the first time in Israel. “HaYehudim,” together with Raviv Kaner and 400 musicians, guitarists, drummers, bassists, keyboardists and singers, under the musical direction of Guy Mezig, performed two songs for Jerusalem Day: “Mechapes Tshuva” and “Yerushalayim Shel Zahav.” The event was held on the walls of the City of David, supported by the Jerusalem Municipality and produced by “Kappaim.” Since we ourselves took part in that event, we can say wholeheartedly that it was one of the most powerful and emotional musical moments we have ever experienced.
= Another element that keeps the band united is its built-in dynamism. Each member invests in creative work outside the band as well: Tom also produces, engineers sound and edits video; Orit creates electronic music in addition to being a visual artist and clothing designer; Itzik has worked as a programmer and is involved in production; and Greg is likewise active in sound and production work.
= In the studio, Yahav prefers preserving the energy and authenticity of live performance. He chooses to record full takes with the band playing together rather than constructing songs from separate pieces.
= The band continues to perform relentlessly and develop new material while maintaining a balanced and collaborative dynamic. Typically, Tom and Orit bring the lyrics and melodies, and the entire band works together on arrangements, each member contributing their own musical perspective.
We eagerly await the next album and continue attending shows religiously.
Until the new album arrives, we invite you to listen to the incredible “Yoter Lo” on Spotify, Apple Music
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