HIPERPERAKION

'Хиперперакион' - Senmuth (7/10)

In an absolute behemoth of a discography, Senmuth's brand of diverse ethnic ambient techno-metal is generally consistent in it's quality, but there's usually a feeling that if this Russian one man project would only spend a little more time on a project in terms of the songwriting and melodic work, something much more magical and profound would come out of it. That being said, there have still been a few albums that have been spawned from Senmuth that can be considered very good, even excellent works of music. Moreover, albums like 'Хиперперакион' that have both the challenging aspect, and quality to them make the whole discography worth it. It may just be my imagination- much like a man lost in the desert for so long, and visualizing a mirage- but 'Хиперперакион' appears to reflect a perfect melange of Senmuth's styles and qualities, making a dense work of music that throws in enough melodic sense and variety to make for a very pleasing addition to the vast work of Senmuth.

Labelled by Senmuth frontman Valery Av as 'ethno metal,' 'Хиперперакион' is an instrumental venture revolving around the history of Bulgaria. An artist evidently intrigued by the expanse of history and wide range of cultures around the world, Senmuth has typically ventured into the realm of Middle-Eastern and Indian culture when it comes to his concept pieces and music, so conceptually, this album stands out. Musically however, the ethnic sounds Senmuth has grown to use are still here, giving everything but a European cultural sound. Comprising the ethnic element of the music are Middle-Eastern acoustic instruments, and exotic woodwind and stringed instruments (or, at least the sound of instruments- many of the instruments here are synthesized through computer program.) While not doing well to represent the concept of the album, the music is indeed diverse, giving a pretty interesting listen throughout the album.

While it may arguably be the element for which Senmuth is defined in the world of heavy metal music, the ethnic music here is only a portion of what's going on here. Throughout his career, Senmuth has also dived into alot of electronic and (of course) rock and metal, and these are also represented in relatively equal part to the world sound. Unlike many metal- sounding albums from Senmuth however, the guitars here do not sound so obnoxious and out of place, instead content to mesh into the mix and contribute tastefully, instead of opting for sheer heaviness as usual.

One of the best Senmuth albums I have heard yet. In terms of the composition, things are varied here and there does seem to be an extra detail to substance in the composition on 'Хиперперакион,' but as always, some of the tracks here can get lost in themselves, and run the risk of dragging on a bit long. A very good album in any case.

After the quite poor "Tenha Vuva" Senmuth returns to Bulgaria with an album that's about the Tracians. I have made a bit of research in the web and I have found that in the original Tracian language "Bryton" means "Beer". Apart of it the first two tracks of the album are not much different from the usual Senmuth. The surprise arrives with the unexpected world music of "Tatul. Adytum. Orpheus". Tatus il the bulgarian name of a village but also of the Datura Stramonium, an hallucinogen plant very common in the mediterranean area. Adytum is usually a sacred hidden temple, whose entrance is forbidden to non-adepts, a secret chamber and I'm expecting that everybody knows Orpheus. Effectively this circular track appears to be the sum of three different parts with the closure identical to the opening. Very light, unusual and melodic.

We can think that the Adytum of that track is the secret chamber and not a Canadian death metal band because the following track can be translated as "Visions of the Prophetess" and is an unusal dark and misterious track. Not as dark as the book of the deads but dark enough even though the percussions are not too obsessive.

The Oracle of Dyonisus follows. Good but non-essential. It's another usual ethno-metal track. Only the title gives the idea of a continuity in the album's concept. Non-essential but good.(said in this order appears more positive, isn't it?)

Translating the following one is quite impossible as it has three different meanings in Russian Serbian and Bulgarian and none of them has a sense to me. It has to do with fire, but I'm not sure about it. It's made of an electronic rhytmic part and few ethnic sounds above it. Less dark and with more squared waves it could be a Tangerine Dream track until the usual percussions arrive. Some flute (not a real one of course) then the distorted guitar and the drums make it more interesting. Not bad, really. Also the flute melody above the chaotic percussion makes a nice contrast.

The following one is Russian and means "Initiation of Alexander the Makedonian". It gives the idea of a hidden ritual so I think it meets its goal. If it wasn't for the sounds used, this could be Vangelis or even Tangerine Dream.

"Mysteries of the rocky sanctuary" seems to offer the vision of Alexander proceeding in the exploration of a dark place. The bass line is very Krautrock while the keyboards remind to Vangelis. Another very good track with a pompous final in the vein of the final part of Saucerful of Secrets.

Finally we have a track represented (but rerecorded I think) from Tenha Vuva.

It doesn't reach the four stars but has some very good moment. It doesn't represent all the aspects of Senmuth's music and I wouldn't suggest it as a starting point to explore this artist, but I can't say that it's bad.

I think that three stars are an appropriate rating.