“The Egesal” by ENMESHED might not leave much of an impression on fans of more conventional song structures, but it surely serves a one hell of an intriguing experience. Having one iron rule, not to give out any information as to the whereabouts of the band members, ENMESHED have a lot to roar and rage in the heavy music community before any details on their project is revealed online. The aesthetic of “The Egesal” allows for a deeply immersive experience and brings a much needed dimension of anxiety, fear and madness to the world of extreme music you know. Let’s hope their mysterious exposure won’t prevent them from pursuing even more ambitious schemes.
We managed to caught up with the band and ask them about this project and explain its intentons:
The album owes much to the works of Sade, Michaux, Hölderlin, M.G. Lewis, and on the sonic side of things, everything from Zeni Geva to Webern to Stooges. We tend to think of it as body metal, as the collective sound is simultaneously physical and metaphysical.
Asked about whether or not they wanted to spread a broader message with the record, they answered:
An idea yes, but a message, no. We don’t think that’s how art functions, and our poetic language throughout the record is a testament to that. Perhaps the idea of God, not as a supernatural being but precisely how it translates into the world of phenomena, is central to the way the album has been named, and arranged, with the last track, Immanuemah [a play on the word, Immanuel] being the quintessence of it. That said, the record does not stay in one place, neither conceptually nor instrumentally [the majority of the studio recordings are improvised iterations of certain fixed song patterns], and therefore, there are tracks that go astray, and deal with other things entirely, like for instance Visit from The Glede, which is sort of a punk statement [again, not one that is blunt, but rather poetic] on the rise of a new moralism in the world today.
