SACRAL LAND

'Sacral Land' - Senmuth (5/10)

Here is another one of the more laid back Senmuth albums. As the man behind all of this music has gradually matured his sound, there has been a gradual trend towards more mellow styles, rather than the crazy metal sound of his earliest work under the title. While this does seem to be the right direction for Senmuth to be going in, it's clear that it will take some time before this new approach is solidified and mastered. 'Sacral Land' shows Senmuth working with this mellow, ethnic and ambient outlet of his music, to some mixed degree of success.

As with many of the project's releases, 'Sacral Land' does tend to grow on the listener after a few listens, although the music is typically ambient and could fall into the category of 'background music' for the majority of the set here. While there are scarce bits of heaviness here and there to liven things up, things are typically get laid back, although the overall tone of the music could very well suit a gothic horror film. There are some great moments where the music begins to soar in it's clever use of melodic instruments and 'epic' orchestration, but for the most part, the musical potential of Senmuth does not feel properly tapped into here. There is very little in the way of 'hooks' or memorable melodies, which could have done wonders for the otherwise uneventful soundscape that curses a good portion of the music here.

The mood here is particularly dark; some of the darkest Senmuth has ever done thus far in his career. Songs such as 'Per-Isis' for example, could easily be a soundtrack to a lost Egyptian tomb. The music is kept slow and doomy in nature. While 'Sacral Land' is indeed a laid back album, there are parts here that do recall the metal sound of his past work. There may be little here that really grabs the listener's attention, but the songs are pleasant throughout, and give off a convincing atmosphere.

The album is opened by one of the Senmuth's longest tracks. If I'm not wrong it's the first time that I see a track longer than 10 minutes in one of his albums. This track "Great Daughter Of The Sun" has a long intro that would have been great if performed by a church organ. The electronic drumming adds the usual touch of techno. It's a pity that this time Senmuth hasn't chosen a more appropriate sound. Later the guitar comes to save the maestosity and, surprise, the chuch organ comes only after more than half of the track is already gone. It slightly moves into ethnic flavours. The unusually clean guitar is excellent.

The second track has an intriguing title: "The Architect Of The Black Earth". Here we are back to the usual (in this period) Senmuth's realm made of a fusion between industrial metal and indo ethnic music. As in the previous, there are moments of symphonic grandiosity, but this time there's a prevalence of percussions and the whole environment is darker. Great guitar also here.

"Osrion" is even darker. I'd like to know how he can produce that wooden flute sound...

It's like a descent into the darkness. "Per'Isis" goes deeper and deeper. Also now I think to how this album could have been if performed by an orchestra.

With "Ahet-Aten" we see some light. I think it has something to do with the battle of light and darkness. Another good track that would have been better server by a different instrumentation.

"Golden Nubia" is an explicit geographic reference to Southern Egypt. A bit too chaotic. It lacks structure or so it seems.

"Nitocryse" (Last faraoh of 6th dinasty, an interregnum queen - Wikipedia) is usual Senmuth but with a touch of the maestosity of the first two tracks provided by keyboards and clean guitar. It's the second time that he dedicates a track to an Egyptian queen even if I don't remember on which one of his previous albums is the first.

"Sacral Erotica Of Ancient Qemt" doesn't have anything particular, but Qemt is the title of an album released by Anima, another Senmuth's side project in 2003. I Wonder what Qemt means.

"Faros Tis Alexandrias" has the wooden flute of Osrion over low pitch keyboard and percussions. The contrast bewteen the discordant flute and the very melodic keyboards and guitar is very nice.

"Numero10gy" is evocative. low volume percussions and keyboard's voices, then it's the usual Senmuth. NOt bad also this, but not an highlight.

3.5 stars. It's really better than his previous "Consciousness of Being", but not finding the right sounds is terrible for a keyboardist. Rounded down to 3.