Ashmedi and Taylan having a good time at Dorock Bar.Last weekend I was fortunate enough to meet Ashmedi, the brains behind Melechesh, probably the most original metal act of the 2000s.
For those who do not know, Melechesh, a Middle Eastern band, brilliantly infuses riff-rich black metal with the pain-filled music of the Middle East, with lyrics that reflect a keen interest on Sumeria and Mesopotamian mythology in general. Some call it “Mesopotamian black metal” while some say it is “Oriental black metal.” I say it is futile to try to describe this original music, as one may grasp layers and layers of various, even conflicting aspects in this band that performs complex extreme metal.
He told me the difficulty of creating a balance between the fluctuant Mideast Oriental music and the discipline metal requires, noting that one could be ridiculed for diluting metal or trying to make a buck out of Mideast music if the balance is not correct. The balance they found is, I believe, similar to what Sepultura has achieved with 'Roots' and 'Against,' an album that I still listen and discover new layers despite all negative criticism.
A part of Ashmedi’s origins are in Turkey, as his Armenian grandfathers probably fled to Syria from Turkey. A vital part of his family is in Jerusalem and most of his life was spent there. Now, he lives in Amsterdam in a situation that he calls “voluntary exile.”
The band’s latest offering, the brilliant Emissaries, is dated 2006, but it had so great impact on metal communities that the band still performs at various festivals. Ashmedi told me the album sold 25,000 copies worldwide, an astounding success for an extreme metal band.
Melechesh is now preparing its new album, hopefully to hit the shelves this year. Ashmedi gave no clue, but what I hope to listen is a deepening of Emissaries, which stands among my all-time favorite albums.
One cannot easily separate politics from the Middle East, but what I observed was Ashmedi is trying his best to do so. That is probably because as a musician he wishes to reach beyond borders and not alienate listeners. And that is understandable. When I asked him about the Palestinian-Israeli conflict, for example, he said he “only counts the dead.” But then, it was also evident that he feels the disparity of power between parties and I noticed a slight but on-the-mark sympathy toward the Palestinian suffering.
Ashmedi stayed in Istanbul for nearly a week, but I could only see him once, due to pressing journalism business. Too bad. One day after we met and talked for a couple of hours at Dorock Bar, the main spot for Istanbul’s metalheads, he was at the “Jazz Stop,” jamming on stage with Harun Kolçak, a talented Turkish pop-jazz musician with whom Ashmedi talked over the net before. You can see what I – and you - missed here: www.youtube.com/watch?v=ibQYQ_q8cmQ
His mother had been telling Ashmedi that he should visit Istanbul one day, and he was proud to have done this at last. Having inhaled Istanbul once, I think he will have trouble containing himself not to come back. So, Ashmedi, hopefully I will see you next time! And don’t forget to lend an ear to Fragments of Unbecoming!
For those who do not know, Melechesh, a Middle Eastern band, brilliantly infuses riff-rich black metal with the pain-filled music of the Middle East, with lyrics that reflect a keen interest on Sumeria and Mesopotamian mythology in general. Some call it “Mesopotamian black metal” while some say it is “Oriental black metal.” I say it is futile to try to describe this original music, as one may grasp layers and layers of various, even conflicting aspects in this band that performs complex extreme metal.
He told me the difficulty of creating a balance between the fluctuant Mideast Oriental music and the discipline metal requires, noting that one could be ridiculed for diluting metal or trying to make a buck out of Mideast music if the balance is not correct. The balance they found is, I believe, similar to what Sepultura has achieved with 'Roots' and 'Against,' an album that I still listen and discover new layers despite all negative criticism.
A part of Ashmedi’s origins are in Turkey, as his Armenian grandfathers probably fled to Syria from Turkey. A vital part of his family is in Jerusalem and most of his life was spent there. Now, he lives in Amsterdam in a situation that he calls “voluntary exile.”
The band’s latest offering, the brilliant Emissaries, is dated 2006, but it had so great impact on metal communities that the band still performs at various festivals. Ashmedi told me the album sold 25,000 copies worldwide, an astounding success for an extreme metal band.
Melechesh is now preparing its new album, hopefully to hit the shelves this year. Ashmedi gave no clue, but what I hope to listen is a deepening of Emissaries, which stands among my all-time favorite albums.
One cannot easily separate politics from the Middle East, but what I observed was Ashmedi is trying his best to do so. That is probably because as a musician he wishes to reach beyond borders and not alienate listeners. And that is understandable. When I asked him about the Palestinian-Israeli conflict, for example, he said he “only counts the dead.” But then, it was also evident that he feels the disparity of power between parties and I noticed a slight but on-the-mark sympathy toward the Palestinian suffering.
Ashmedi stayed in Istanbul for nearly a week, but I could only see him once, due to pressing journalism business. Too bad. One day after we met and talked for a couple of hours at Dorock Bar, the main spot for Istanbul’s metalheads, he was at the “Jazz Stop,” jamming on stage with Harun Kolçak, a talented Turkish pop-jazz musician with whom Ashmedi talked over the net before. You can see what I – and you - missed here: www.youtube.com/watch?v=ibQYQ_q8cmQ
His mother had been telling Ashmedi that he should visit Istanbul one day, and he was proud to have done this at last. Having inhaled Istanbul once, I think he will have trouble containing himself not to come back. So, Ashmedi, hopefully I will see you next time! And don’t forget to lend an ear to Fragments of Unbecoming!
