Last month, New Orleans black metal outfit Mehenet released their highly anticipated sophomore full-length album Ng’ambu. Meaning “the opposite shore,” the album was recorded by James Whitten (Thou, Eyehategod, Emma Ruth Rundle) at High Tower Recording and utilizes samples of the bustling French Quarter and pays respect and praise to the cultural music of the city by incorporating congas, whistles, and bells. However, due to Hurricane Ida, the band was unable to celebrate the release in proper fashion.
True to the spirit of black metal, where musicians adopt monikers as signifiers and identities (think Fenriz of Darkthrone or Neige of Alcest), each respective band member shrouds his existence in mystery. Algol has sung in bands since the early 2000s and took a couple music theory classes at the University of New Orleans but “nothing very formal.” Cernunnos claims to be a “self taught self-made millionaire.” Acheron is formally trained in marching, concert, and auxiliary percussion, yet self taught on drum kit. (He has played in various bands around southern Louisiana since 15 years of age.) With those initial skills he approached his instruments by listening to various diverse styles of music and soundscapes. Nehushtan took classical lessons for a year when he was 12-13 which led to learning Sabbath and 90s rock songs, which eventually led to playing metal.
Ng-ambu has been celebrated by Decibel and other outlets, who hail the new full length release as an “enthralling progression in Mehenet’s music and a forceful display of spiritual art and dedication.”
OffBeat talked to the clandestine group, who cites Quimbanda (the Afro-Brazilian diasporic belief system based around magic, rituals, and offerings) as one of their major influences about the local scene and their latest release.
How does Mehenet feel operating as a metal outfit in a primarily jazz/R&B town? Do they feel this influences of informs their work at all?
We feel great about it. New Orleans does have a varied musical scene and we have always been open to playing with folks outside of our genre. There are definitely different moods to parts of town and while some great Jazz/R&B bands are playing in Frenchman or even at places like the old Saturn Bar, there are plenty of modern styles playing at venues like Parasite Skate park, Poor Boys, Santos, Siberia, or just under a bridge with generators and pallet fires. We think classic New Orleans music inspires us in a variety of ways, and it’s not just jazz but folks like Ernie K Doe, folks from Magnolia like Soulja Slim or Ca$h Money folks like Hot Boys. It might not show up in our writing directly. We are not adding trombones or dropping bars but the vibrancy of New Orleans and its unique attitude is vast and influential.
In the grand scheme of the past two years with Covid, do you feel the metal scene has been impacted in any specific way?
Sure. Shows are limited. A lot of luminaries and wonderful people like Hollise Murphy have passed and that really struck the whole scene in a real way. The economic impact is enormous and stresses artists and their families to the brink. But we also think it has made some really recognize how important the arts are in their lives, the outlet it gives them, and hopefully will engage the public aspect of it with increased fervor when that is possible. We’ve seen a lot of artists and musicians dig deep and really use this time to help folks and develop some really cool material.
Christworm of Baton Rouge will join Mehenet for the album’s release party on November 13 (10:30 p.m.) at Howlin Wolf. Stream Ng’ambu below and purchase via Bandcamp.
