Guitarist/vocalist Ashmedi of Mesopotamian blackened thrash pioneers MELECHESH, has issued the first of several track by track explanations of songs from their forthcoming album. The Epigenesis will be released on October 1st in Europe and on October 26th in North America via Nuclear Blast Records.
1. Ghouls Of Nineveh
“This song is a statement on how one riff can be effective and devastating! It is very powerful and live it is neck breaking. The song itself revolved around a singular riff, very non cliché to extreme metal. Some people expected a conformist start for the album, i.e. a faster song and we rejected the idea. This song sets the mood for a multi faceted album. This song is almost like a hymn. ‘Ghouls of Nineveh’ revolves around Assyrian/Mesopotamian deities, who are the Annunaki. Some of the brass bells you hear are a result of a pestle and mortar I found in my childhood house in Jerusalem when I went for a visit. The brass pestle and mortar was in my house as far as I can recall, yet this time when I was there in 2009, I experimented with it and the sound was bright. Better than any bell I know of. So I confiscated it and used it on the album as a percussive instrument! The final guitar lead was improvised on the spot and the piano cosmetic lead was split between Reuben the engineer and myself. This Fazioli Grand piano cost as much as a house in some parts of the USA ($120,000), so I was slightly careful with it!”
2. Grand Gathas of Baal Sin
“Gathas are the sacred writings of Zarathustra. However I liked to integrate themes and made Gathas for Lord Sin (Baal is not only a deity but actually the word means Lord). Sin is the name of the Mesopotamian moon deity so it is a play on words. Musically this song is meant to resemble a stampede or a whirlwind of chaos with frantic riffing tones, which breaks with epic middle eastern scaling and beats. The drum toms on this song represent war drums or ritualistic drums. With the set of right speakers the drum toms are explosive and bombastic. The group Chanting ‘Sin Baal Sin Baal’ remind me with Sufi rituals. There is a little part in the end like a jam with non distorted guitars. This was purely by chance the tape was rolling and I could only hear drum tracks so I jammed on the drums on a couple of channels. Eventually we thought ok lets use it. The very final note on the song is the Persian Santur.”