KAARANA

A clean guitar played slowly on a non-dark base is the new respect to the usual ethno- ambient-indian music which Senmuth has made me used to. "Vasayati" is a nice track also from a melodic point of view, but "Ahamkara" appears to be just its prosecution as it's not much different from the previous, initially. However is another good track with enough major chords to be relaxing. A particularity of Senmuth is in the "Dark-Ambient" definition. Thinking to Ambient music one can imagine chill-out stuff. In general Senmuth's music is very dark and esotheric, instead, but not this time.

"Samaveta Asura" is full of square waves. If it wasn't for the flute and the sitar it could be Edgar Froese.

After a huge number of albums recorded alone, here there's the return of guests musicians. Eresh was already on Swadisthana if I remember correctly. His work with the percussions is not very evident. Just there are some "natural" percussions instead of sequenced rhythms as usual, but "Shaanti" is a hypnotic track, very repetitive and with a dreamy rhythm. It's quite a mantra.

"Sagarmatha" is darker and a distorted bass, likely a keyboard adds it a touch of metal. The melody is played by the sitar and feels "already listened". If not the same track, I think on Rha Di there's something very similar.

"Kamaloka" starts very Indo-Raga. Percussions and sitar work over a bass distorted chord and windy sounds. The result is another very hypnotic track but the enchantment is broken by the electric guitar which turns the song into the usual Senmuth. It's good, but the first part is better.

"Prajnanam Brahma" features mute vocals from Eresh. He sings over a base of sitar and electronics. It's a captivating song neither ethnic or metal. I consider it the highlight of this album.

"Indryas" is opened by violin and cello. Thinking to this track alone, as a Senmuth's newbie may do, it's good enough, but afgter having listened to more than 40 of his albums I can only say that this is the very "usual" one.

"Devasthan" reminds me to the Vangelis of "Direct" and "The City" but the melody is not as strong as the Greek artist is able to create. As in many Senmuth's songs it seems that the author wants to communicate a general sensation so that sometimes a real melody doesn't exist at all. The passages appear to be randomic and a structure becomes evident only after a number of listens.

This is an average album for Senmuth. I prefer his ambient side so I quite like it but it disappears into the sea of similar albums that he has released.