Myrath – Shehili

The album title itself was not randomly chosen as the word ‘shehili’ refers to the ‘hot blazing wind coming from the South’ so it all ties together. Though I am still partial to their 2011 effort “Tales of the Sands” I have to admit “Shehili” still hits home when it comes to musicianship and delivery and can rightfully be considered the pinnacle of their carrier (so far, I mean). 

Though easy on the ears, the album has a very expansive and complex yet very organic sound to it, with many exotic-sounding parts and intricate instrumental passages. Having toned down their metal side a bit, there is more room for the traditional instruments like darbukas, clarinettes, nay, gasba or violins, which can be seen as integral to the band’s sonic identity, to be heard more clearly, giving the music a certain aura of fantasy and charm. And this blend of heavy guitars, Middle Eastern influences, uplifting melodies, and Arabic chants is by far the unique selling point of the album, and Myrath really put the beauty of Tunisian folklore music in the spotlight with this album, as the singles “Dance” and “No holding back” showcase so elegantly.

 The intro “Asl” sets the mood of the entire album with pipes and Arabic chants, bleeding right into “Born to Survive” which makes it clear that Myrath is still a metal band at its core, though listening to such songs as “Mersal” or the title track “Shehili” you can hear the various influences that they have added to their sound. But honestly each one of the twelve songs on this album has a twist that engulfs the listener even more, be it the guitar riffs on the heavier cuts like “You’ve lost yourself”, “Wicked dice” or “Darkness arise” (which also has a great guitar solo) or the piano lines on “Lili Twil” or on the ballad “Stardust”, or the catchy chorus in “Monster in my closet” and “Dance”, or just the sheer beauty of the oriental flourishes throughout the music. It is this mix of styles that makes Myrath such an original and trailblazing band, and one of the most fascinating acts on the current metal scene. Zaher Zorgati’s vocals are as powerful and melodic as ever, guiding the listeners though such a fascinating soundscape, and I would say that “Lili Twil” is probably his best vocal work (apart from maybe “Apostrophe for a Legend”, a bonus track from “Tales of the Sands”), showcasing not only his vocal range and prowess but also his passion and emotional side. Malek Ben Arbia proves once again he is a master of the guitar giving the songs some edge and aggressiveness with his blazing riffs, while Anis Jouini’s bass parts add thickness and darkness to the sound. I particularly enjoy Elyes Bouchoucha’s lush keyboards that add so much extra melody and textures to the music, making it moodier and more nuanced.