Mar 132015


(Andy Synn reviews the new album by Melechesh.)

I realise I may be in the minority about this, but as much as I enjoyed The Epigenesis I still felt like there was something missing in the final package. Though it certainly broke new ground in terms of adding an even more progressive, expressive edge to the band’s sound, to my mind it lacked a certain fire, a certain ferocity, when compared with their previous releases.

However it’s now been five long years since the release of The Epigenesis, five years which the band have spent (metaphorically) wandering in the wilderness, losing long-serving members and regaining old allies, perfecting and purifying themselves once more, engaged in a penitent pilgrimage which has led, ultimately, to the creation of perhaps their finest album yet.



That Enki is a heavier, more antagonistic affair than its predecessor is undeniable, the band’s revitalised line-up — mainman Ashmedi rejoined here by guitarist Moloch, original drummer Lord Curse (whose furious footwork, strafing fills, and scathing blast-beats are a major highlight of the album), and new bassist Scorpios — pulling out all the stops and injecting the album with an extra shot of extremity and focussed metallic power.

From the sand-scarred maelstrom of opener “Temper Tempest Enlil Enraged” with its firestorm of blistering blast-beats and scything riffs, to the whirling dervish of “Lost Tribes” (which even a guest appearance by Max Cavalera – whose Cro-Magnon bellow plays off nicely against Ashmedi’s venomous snarl — is unable to ruin), to the titanic stomp and slicing, scimitar guitars of “Enki Divine Nature Awoken” (another song elevated by a well-chosen guest appearance, in this case the imperious blackened bark of Rotting Christ frontman Sakis Tolis), the fearsome foursome hack and slash and pummel with primal focus and intensity, as if possessed by violent and restless spirits.

Yet the album is more than just a simplistic regression towards aggression, and the lessons learned on The Epigenesis have not been forgotten. Tracks like the shape-shifting “The Pendulum Speaks” and the nimble “The Palm, The Eye, and Lapis Lazuli” dance effortlessly along a razor’s edge between shimmering melody and shuddering metallic groove, while there’s even a hint of Master of Puppets-era Metallica to the magisterial hooks of “Multiple Truths” and the scorching Black Thrash attack of “Metatron and Man” – though whether this is by accident or design I simply don’t know.

Yet the album’s greatest strength, beyond even the cunningly compelling song-writing and punishingly powerful performances on display, lies in the near-perfect manner in which all these elements – the esoteric melodies, the blackened metallic ferocity, the unpredictable twists and progressive, serpentine contortions — are combined.

The balance and interweaving of all the band’s influences is nigh-on seamless, binding them all together into a singular totality of style and sound, epitomised by the bombastic Babylonian grooves and swirling Mesopotamian mysticism of epic closer “The Outsiders”, which strives to unify the album’s grandiose vision and brazen ambition in one fantastic finale.


Ultimately, no matter how you feel about the band’s previous album, it’s hard to deny that Enki represents a new dawn and a new level for Melechesh.

It’s a dense and endlessly fascinating listen, one which undoubtedly makes an instantaneous impact with its whirling dervish dynamics and feverish aggression, yet which also rewards the dedicated listener with artfully concealed layers of cryptic meaning and hidden secrets, all waiting to be unearthed.


Enki is out now on the Nuclear Blast label and available for order here.


  11 Responses to “MELECHESH: “ENKI””

  1. Great review Andy, though I’m a big fan of the band’s lyrical philosophy Melechesh is a band they that I’ve never quite ‘got’. Keen to check this out a hopefully have my mind changed (and internal organs rearranged). :.::

    • Thank you. Not sure which version of the review you’ve seen (my fault, I sent Islander one version, then re-edited it quite a bit to make it more concise and focussed, which meant the original, un-edited version accidentally got published first – although now it’s been corrected to the shorter, final, version) but it was a fun one to write and get into, particularly since, as I said, The Epigenesis didn’t quite click with me, but this one really did!

  2. Nice album, not my personal favourite but still very very good.

  3. Gotta look up the Epigenesis. One of those albums a bunch of people have told me to check out, and Enki’s sounding good enough that I imagine it’ll be pretty good.

  4. i, today morning, was overrun by discovering Enki was, still, unpresent, here, bufoons of the corpse-paint night.
    i, even, went too far, in thinking to write you guys about it asking what, possibly, the disastrous impedence, might coincidently be.
    then i remembered i, once, wrote to your fb inbox about my friends’ band from Alexandria, Egypt, ODIOUS, who, themselves, happen to be those “other” masters, technically, along with Melechesh, of “oriental” bm..; but i reckon it must have dwelled in limbo in your deserved abyssal mail box.
    thus, seenig the king of fire now is always better late than never.
    i wish to see a spotlight over the soon to be released follow up to ODIOUS’s phenomenal humbly self produced debut: Mirror Of Vibration 2007; only that one coming next month is recorded in, yes, Greece, in collaboration with Sakis (Rotting Christ), too.

  5. anything with a Max cameo is worth a listen, even if only for that alone 🙂

  6. This may well be their best album yet. It’s certainly one of the best albums of the year so far.

  7. Andy continues to provide supreme reviews for bands I’ve never heard of (and some I’ve told myself that I wouldn’t like). Both “Lost Tribes” and “Multiple Truths” are really good songs. Thanks for the review!

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