SOURCE – How do you assess the reception of Enki, released in 2015 through Nuclear Blast, and what led to the band’s hiatus until the release of the EP Sentinels of Shamash through Reigning Phoenix Music in 2026?
Ashmedi (Vocals, Guitars) – Enki was received exceptionally well, both critically and by the fans. The response was overwhelming, and because of that, we were touring nonstop, with multiple tours and countless festival appearances worldwide.
So there was no real “hiatus.” We remained fully active on the live front. The gap between releases was mainly due to external factors, first COVID, which disrupted the entire industry, and later production delays during recording in Athens.
Even Sentinels of Shamash was originally scheduled for an earlier release and went through a few schedule changes to optimize timing and distribution. In the end, that proved to be the right decision.
With this EP, the intention was to return with focus and clarity, offering a concise, deliberate statement of where Melechesh stands today.
SOURCE – In the press release for Sentinels of Shamash, you describe your sound as Mesopotamian metal rooted in black metal and thrash, with references to Sumerian and Mesopotamian mythology. However, some perceive satanic imagery in your material. From a broader perspective, how do these mythologies relate to, or differ from, Satanism?
Ashmedi (Vocals, Guitars) – I don’t really see that correlation. Sumerian and Mesopotamian mythologies predate what people call “Satanism” by thousands of years, so linking the two is more of a modern misconception.
Also, the term “Satanism” itself is loosely defined today. People project different meanings onto it. From a folkloric and sociological perspective, these are symbolic systems shaped by culture and interpretation. If we speak about “darkness,” the real question becomes: where does actual harm come from? Arguably not from artists, but from systems and institutions that manipulate, divide, or cause suffering on a large scale.
In our case, it’s not that the imagery is inherently misunderstood, but rather that it can be misunderstood, especially by those who are looking for it. For example, what may be perceived as a pentagram is actually a calligraphic rendering of “King of Fire” in Aramaic. We invest a lot of time and intention into our symbols and visual language.
There’s also an evolution in the band’s philosophy. Like a cycle, questioning, then breaking away from imposed dogmas, followed by rebuilding and reaching a form of clarity. From there come exploration, curiosity, and at times even retribution. Our focus remains on Mesopotamian mythology, sacred geometry, and the exploration of deeper, cosmic, and metaphysical ideas, not on any Satanic doctrine.
SOURCE – Beyond the number of tracks, what prevented Sentinels of Shamash from being released as a full length album?
Ashmedi (Vocals, Guitars) – Sentinels of Shamash was a strategic choice. We actually had enough material for a full length album, but due to delays, it made more sense to release the EP, which was already completed, rather than keep people waiting.
The three tracks represent different angles of our sound and serve as a focused statement. For a full album, I would naturally rework existing material and write new pieces to reflect where we are now. Since the EP was ready, releasing it was the right move in terms of timing.
SOURCE – What can you tell us about the production of Sentinels of Shamash?
Ashmedi (Vocals, Guitars) – Sentinels of Shamash was a truly international production. The core rhythm sections were recorded at Kohlekeller Studio in Germany.
I did my vocal sessions in New Jersey and Los Angeles under the watchful eye of Rob Caggiano, who handled the production and recording process and did a great job. Since he also performed the bass parts, he recorded them in his studio in New Jersey.
Additional elements were recorded in what I call the “Holy Land,” including some guitar work, while Jessica Pimentel’s vocals were recorded in Sweden. The material was then brought back to Germany for mixing.
Different locations, but one unified vision, reflecting the global nature of the band.
SOURCE – “Raptors of Anzu” and “In Shadows, In Light” were released as lyric videos. Do you have plans to release a traditional promotional video to support Sentinels of Shamash?
Ashmedi (Vocals, Guitars) – “Raptors of Anzu,” “In Shadows, In Light,” and “The Seventh Verdict” were all released as lyric videos. Every track on Sentinels of Shamash has a visual counterpart. It’s a great way for people to engage with the lyrics while still experiencing a visual atmosphere that represents the band.
I personally appreciate strong cinematography, but when it comes to traditional video clips, unless they are done right, it’s better not to do them at all. That level of production is something I associate more with a full length album. Sometimes a proper video can require a budget comparable to that of an album itself, and if the vision isn’t right, it can misrepresent everything you’ve built.
That’s why we’ve been selective over the years. Either you do it properly, with the right people, the right vision, and the right environment, or you keep it minimal or live. For this release, the focus was on the songs, both sonically and lyrically.
SOURCE – Melechesh was originally formed in 1993 in Jerusalem. How does society respond to themes associated with the black metal scene and its perceived connections to Satanism and related topics?
Ashmedi (Vocals, Guitars) – When we started in Jerusalem, people were outraged. The irony is that groups that usually disagreed on everything suddenly united in their anger toward us. A black metal band became a unifying factor. We were young and apparently “dangerous,” even though we never would have hurt a fly.
Fast forward three decades, and the same types of voices see a national TV feature and call it positive. So which is it? People shift with the narrative.
We don’t really care about those reactions. We’ve always done our own thing. If anything, it says more about society than it does about us.
I always say, before you make up your mind or make any statement, count the dead. Then ask yourself where the real damage comes from. It’s not bands making music.
We just ended up playing the convenient villain for a while, and then suddenly the narrative changed.
SOURCE – A release typically requires live performances to promote and consolidate a band’s career. What are your plans regarding a new full length album?
Ashmedi (Vocals, Guitars) – We’ve always been very active live. We have over 1,200 shows under our belt and have done around a dozen tours since Enki. In fact, that level of activity also contributed to delays in writing because we simply love playing live and have performed extensively across Europe, North America, and beyond.
We’ve played major festivals, including in front of massive crowds in Colombia and in many countries worldwide, though there are still places we look forward to visiting, like Brazil. Live performance is a core part of what we do.
At the same time, we’re working on the next full length album and continuing to move forward. It’s a parallel process, creating while staying active on stage, including in support of Sentinels of Shamash.
SOURCE – What are your plans for the rest of the year?
Ashmedi (Vocals, Guitars) – The focus is to continue pushing Sentinels of Shamash, bringing it to the stage and reaching as many places as possible. Live activity remains a key priority for us.
At the same time, we’re actively working on the next full length album, refining material and developing new ideas. So it’s about maintaining momentum, both on stage and creatively, while moving forward to the next chapter.
Photo Credit: Maja Makina
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