MORNING DEPTH OF THE SUNLIGHT AND EMPTINESS

I first heard of Senmuth when I was scouring the Internet for free artists. My friend recommended him to me, and I was intrigued at the size of his discography. Picking at random, I gave Morning Depth a listen. When I heard this album, I couldn't help but draw comparisons to Buckethead. At least on this album (Senmuth exhibits MANY different styles), the pieces are dominantly acoustic jams or doodles with little structure. Much like Buckethead, he's put many great ideas, not always fully fleshed out, and put them together. Also like Buckethead, there's at least one "finished" piece ("Morning Swallow") which stands above the rest as a legitimately great and memorable song. It's like Senmuth took a shot at writing rewriting Colma. I'd love to give this album a 3.5/5 for being enjoyable, technically proficient, but unfocused, but I'm sadly forced to round it down to a 3/5. I'd recommend it if you're looking for an enjoyable ambient acoustic listen, though it's not something you're likely to come back to.

'Morning Depth Of The Sunlight & Emptiness' - Senmuth (6/10)

In a discography of so many albums, any deviation from the norm or standard style almost guarantees an added degree of praise. When it comes to Senmuth, it is very clear that the man behind this one person project is incredibly talented and dedicated to his work, but his music often falls into ruts, and feels a bit too 'recycled' after a while. After having experienced a ton of Senmuth's work in the form of either metal or 'ethnic ambient,' it comes as a very pleasant surprise when the man decides to do something that's a bit out of his regular zone. With the verbosely titled 'Morning Depth Of The Sunlight & Emptiness,' Senmuth tries his hand at acoustic instrumental music. There is a simplified, warm sound here, but an improvement on the generally loose songwriting could have made this a really great album, instead of merely a 'decent' one.

A unique work for Senmuth, a very noticable difference here is the lack of production and density here that defined many of his other works. While the use of the studio itself as an instrument can often be a beautiful thing, it did seem at times in his career that Senmuth would try too hard to make a very chaotic sound, and the songwriting would often get lost in the sound. In 'Morning Depth,' there are still effects being used, but they are generally kept to a minimum, and only used when appropriate. Often, the only sound the listener will hear will be of the instruments themselves; typically a warm toned acoustic guitar, skillfully performed by the man himself. Towards the latter part of the album, effects are used to a somewhat psychedelic pallour, which at times can give the album the feeling of instrumental 1960's pop.

While this new direction from Senmuth is certainly welcome, the larger problem that still remains with the music is the manner of the compositions themselves. With the clear exception of the title closing track (which excels in every respect), much of the music here sounds very loose, and almost as if Senmuth wrote the pieces on the spot rather than take the time to carefully arrange some truly thoughtful compositions.

Parts of the album have a tendency to take a page from the Spanish flamenco school of thought, which adds a new realm to Senmuth's music and is much appreciated. While the album certainly feels a bit half-baked in terms of the writing of the material, the execution is here, and the last track hints at the potential for something potentially masterful, should Senmuth devote himself to one project in the style long enough to let it grow.

What a skilled guitarist was hidden behind the industrial noise of his first albums. Well, it's question of tastes, but this short album, less than 35 minutes, shows the acoustic side of this artist.

The spanish classical guitar and the feathers on the cover sleeve seems to say that Senmuth has changed continent. The music on this album doesn't have the almost usual Egyptian/inidan/Far Eastern flavour. It's like he's now exploring an area between the southwest of USA and Mexico, so the native american culture.

"Deep Your Eyes" is one highlight on which the classical guitar is played quite fast. The following very short track has a sense of Krautrock for its repetitivity. Emptyness Inside is intriguing and it's only when he comes back to his usual realms like in "Waking Up For Reality" that his composing appears weaker.

All this acoustic and classical guitar on the same album is an unexpected new for Senmuth. Of course who is looking for "Experimental/Post Metal" will not find any of the two here.

The album continues as a collection of classical guitar pieces until the ending track. "Morning Shadow", even if still on North-American chords has drums and bass, so respect to the rest of the album it sounds loudly and rock.

It's a very good instrumental track, instead, still with many newage-ethnic elements.

This is a very unusual album in Senmuth's huge production. Not something that I was expecting to hear. Good for lovers of relaxing environments and acoutic guitar.

Yes, Senmuth got an acoustic guitar and a dutar and he just wanted to test his two new instruments on this calm, meditative and insightful record for us. In fact, he plays both instruments quite well and his skills remind me a little bit of Cat Stevens, Carlos Santana and even Shawn Phillips. This is the perfect record to get in touch with a Mexican beauty during a relaxed barbecue supper next to a campfire. Yes, I know, I have an overwhelming creativity again, just like Senmuth has.

Honestly said, the album really has a slightly Hispanic folk feeling and makes me think of beautiful vacations somewhere in the south. The album title may sound complex, intellectual and ambitious but the music is amongst the most simplistic stuff Senmuth has ever done in his huge discography so don't get fooled here. It's though good to take a break and feel a human touch in his music after many ambitious and detailed projects. If you are looking for a progressive, doom or metal record, you're definitely not at the right address here.

Of course, we have heard music like this before but Senmuth's joy and passion during the soft jams is well transferred here. The album has a great flow, sounds coherent and very atmospheric. The only outstanding track from this concept is the album closer "Morning Swallow" that is a little bit quicker and more rhythm orientated to awake us after almost thirty minutes of hypnotizing tranquility.

In the end, this album is a great choice if you feel to take a break and think about vacations and exotic beauties to escape from reality. This can also easily be considered as great and inoffensive background music for calm barbecue suppers or campfires with your friends. We should simply take this album as it is and don't expect anything mindblowing in here. On the other side, Senmuth has done much more innovating stuff and this soft acoustic instrumental record can't be classed among his highlights.

Originally released on www.metal-archives.com on August 18th of the year 2011.