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SENMUTH

Experimental/Post Metal • Russia


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Senmuth biography
Senmuth is a Russian multi-instrumentalist who makes uncompromising and experimental music with guitars, ethnic instruments and electronics. He is also a fequent collaborator with several other experimental Russian bands. His musical output can best be described as eclectic, ranging from ethnically fused ambient to progressive rock. His origins however lie predominately in doom and industrial metal with a healthy dose of ethnic music; whereas his newer albums are more progressive and experimental.

Senmuth's compositions are musical journeys, expansive trips into history and the unknown transporting the listener through distant lands and ancient cultures. The sheer volume of work that Senmuth creates is staggering, having released over 60 albums in less than ten years of active recording, or making about ten albums per year. All of his work is generously released free of charge, and can be downloaded through his website.

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SENMUTH discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SENMUTH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.10 | 8 ratings
Cognitive Discord
2004
3.48 | 6 ratings
Izoteri-Ka
2004
2.98 | 4 ratings
Vdol Puty k Podnebesnoy
2004
3.00 | 4 ratings
Swadhisthana
2004
3.02 | 3 ratings
Precession
2005
2.50 | 4 ratings
No More Sense
2005
3.20 | 4 ratings
RXG-242-11
2005
3.20 | 4 ratings
Kami-No-Miti
2005
3.00 | 4 ratings
NewOldLive
2005
3.55 | 4 ratings
Oracle Octave (Part I: Orion Mystery)
2005
2.50 | 4 ratings
Slishkom dolgo i pusto
2005
3.07 | 4 ratings
Oracle Octave (Part II: Sirius Mystery)
2005
3.04 | 4 ratings
Rajas
2006
3.00 | 3 ratings
Nasledie
2006
3.85 | 8 ratings
Probuzhdaya Sluchaynost
2006
3.91 | 7 ratings
Path of Satiam
2006
3.60 | 5 ratings
Summarium Symphony
2006
2.40 | 3 ratings
so(znanye)bitya
2006
3.20 | 3 ratings
Sacral Land
2006
3.02 | 4 ratings
Eternal Images
2007
3.93 | 8 ratings
Bark of Ra
2007
3.02 | 4 ratings
Evolution: Exodus
2007
2.57 | 4 ratings
Er Hu Peret Em Heru
2007
3.51 | 4 ratings
Rain Eclipse
2007
3.02 | 5 ratings
Morning Depth of the Sunlight and Emptiness
2007
2.82 | 4 ratings
Ra Dhi
2007
2.61 | 5 ratings
Ancalimon: Fates of Odemyr
2007
2.05 | 3 ratings
Nature
2007
3.59 | 4 ratings
Planetary Dust
2007
2.02 | 3 ratings
Calendar Complex
2007
4.00 | 4 ratings
Contextual
2007
3.00 | 3 ratings
Light, Sound, Sacral Geometry & Energy
2008
2.54 | 3 ratings
Rezonans
2008
3.05 | 4 ratings
Sthana Ekanta
2008
3.00 | 3 ratings
Aethiopia
2008
3.00 | 2 ratings
Intiuatana
2008
3.00 | 2 ratings
Aeonica Monumentarium
2008
3.00 | 2 ratings
YanTra Light
2008
2.07 | 3 ratings
Narration of Time
2008
2.00 | 2 ratings
Great Oppositions of Mars
2008
3.00 | 2 ratings
In Archetypes
2008
3.00 | 4 ratings
Weird
2008
3.62 | 5 ratings
Lotos Prityazhenya
2008
3.02 | 3 ratings
KaaraNa
2008
3.40 | 3 ratings
Velichye i Tainstvo Kavkazskih Gor
2008
4.00 | 4 ratings
Kemet High Tech. Part I: Artefacts
2008
3.62 | 5 ratings
Kemet High Tech. Part II: History Illusions
2008
4.02 | 4 ratings
Sebek
2009
3.53 | 5 ratings
Exouniverse
2009
3.51 | 3 ratings
Zekhenu Uaut Setekh
2009
2.50 | 2 ratings
Tenha Vuva
2009
3.09 | 6 ratings
Ahet Meri Ra
2009
1.80 | 3 ratings
Tishina Posle Vspleska
2009
2.54 | 3 ratings
Neocortex
2009
3.05 | 4 ratings
Rstw
2009
3.21 | 5 ratings
Madinat al-Mayyit
2009
3.00 | 2 ratings
Knigy Voznesenya II
2010
3.02 | 3 ratings
Deathknowledge & Lifeperception
2010
3.00 | 4 ratings
Sekenenra
2010
2.35 | 5 ratings
Chambers
2010
4.00 | 3 ratings
Pat Hof Neu Rog Ene Sis
2010
2.50 | 2 ratings
Ankhiteru
2010
3.05 | 4 ratings
Nagaratyanta
2010
3.00 | 4 ratings
Svara Tiras
2010
3.51 | 4 ratings
Hiperperakion
2010
3.00 | 4 ratings
Muzika Stranstviy / Music of Wanderings
2010
3.00 | 2 ratings
Reconstruction of Infinity
2010
3.00 | 2 ratings
Core
2010
2.50 | 3 ratings
Ancientonica
2010
2.50 | 2 ratings
Synopsis: Outland
2010
2.00 | 2 ratings
The World's Out-of-place Artefacts I
2010
3.00 | 2 ratings
The World's Out-of-place Artefacts II
2010
3.50 | 2 ratings
Expanding Architecture
2010
3.00 | 2 ratings
Meritseger Cult
2010
2.00 | 2 ratings
Mal'akatu
2010
2.95 | 4 ratings
TE-E-MA
2010
3.02 | 6 ratings
Hexeractime
2011
4.00 | 2 ratings
Farhakote
2011
3.02 | 3 ratings
Enigmatic Nubian Mask
2011
4.00 | 2 ratings
Proscyneme
2011
3.00 | 1 ratings
Cryptomnesia of Hidden Art
2011
2.54 | 3 ratings
Trmmis
2011
3.00 | 3 ratings
Geheimatite
2011
3.00 | 1 ratings
Antiquatorial
2011
3.00 | 1 ratings
Eastextures of Soundstones
2011
3.00 | 1 ratings
Pricelessness of the Passing Time
2012
3.00 | 1 ratings
Faster Than Light Longer Than Eternity
2012
4.00 | 2 ratings
Bar Do Thos Grol
2012
3.00 | 1 ratings
Scientific Obscurantism
2012
2.00 | 1 ratings
Монумент 6 / Monument 6
2012
3.00 | 1 ratings
Sen En Mut
2012
3.00 | 1 ratings
Reliquarynce
2012
3.00 | 1 ratings
M.OMEN.T
2012
3.00 | 1 ratings
Ts'ahk
2012
2.00 | 1 ratings
The Final Eschatology
2012
3.00 | 1 ratings
Bolon Yokte: Descent
2012
4.00 | 1 ratings
Deep In The Ecumene
2012
3.00 | 2 ratings
The Primordial Deity
2012
3.00 | 1 ratings
Nedjemmet
2012
3.00 | 1 ratings
Amn Tf Nkht
2012
3.05 | 2 ratings
Hagwalah
2012
3.00 | 3 ratings
Sacrumental
2012
3.00 | 1 ratings
Embrace Stones
2012
3.00 | 1 ratings
Semrük-Bürküt (feat. Serkan Falay)
2012
3.00 | 1 ratings
Точка Невозврата / Point of No Return
2012
4.00 | 1 ratings
111 111 111 x 111 111 111
2013
3.05 | 2 ratings
Inside The Bent
2013
4.00 | 1 ratings
Предзакатный Взор на Земли Папируса
2013
4.00 | 1 ratings
Amentsiya
2013
2.00 | 1 ratings
[noemaontos]
2013
3.95 | 2 ratings
με oν
2013
3.05 | 2 ratings
Mistremendum
2013
4.00 | 1 ratings
Dиск.Oм.Форт
2013
0.00 | 0 ratings
Nomen Est Omen
2013
0.00 | 0 ratings
Seyaat
2013
0.00 | 0 ratings
«Saturn. Inside The Elements» Сатурн. Внутри Стихий
2013
4.00 | 3 ratings
Энграмма
2014
2.00 | 9 ratings
Snefru, Lord Of Harmony
2014
3.00 | 7 ratings
WAB SWT WSRKAF
2014
0.00 | 0 ratings
ΑiΣΘΗΣΙΣ INTEGRA
2014
4.00 | 1 ratings
Ethnadjentscore
2014
0.00 | 0 ratings
Triassic
2014
0.00 | 0 ratings
Jurassic
2014
0.00 | 0 ratings
Cretaceous
2014
0.00 | 0 ratings
Урочище
2014
0.00 | 0 ratings
Archaeoheritage
2014
0.00 | 0 ratings
Призраки Ахетатона
2014
0.00 | 0 ratings
Тени Ахетатона
2014
0.00 | 0 ratings
.
2014
0.00 | 0 ratings
Engram [instrumental version]
2014
0.00 | 0 ratings
Dakhmas
2015
0.00 | 0 ratings
Tskhigii
2015
4.00 | 1 ratings
Rosetta Mission
2015
0.00 | 0 ratings
Nakshatra
2015
0.00 | 0 ratings
Ongtupqa
2015
3.67 | 3 ratings
Уходбище ± Ухожа
2015
0.00 | 0 ratings
Хетемит
2015
0.00 | 0 ratings
Aeon:Hadean
2015
0.00 | 0 ratings
Тамгалан
2015
0.00 | 0 ratings
Sacred Word
2015
0.00 | 0 ratings

2015
0.00 | 0 ratings
Nadisamaya
2015
1.00 | 3 ratings
Края Дивного Дебри
2015
0.00 | 0 ratings
Adoratrice
2015
0.00 | 0 ratings
Abyssopelagic
2015
0.00 | 0 ratings
Er-Wang-Dong
2015
0.00 | 0 ratings
Cairo Ambient
2015
0.00 | 0 ratings
Хрустальный Трек
2015
0.00 | 0 ratings
Морена
2015
0.00 | 0 ratings
Безлетно
2015
0.00 | 0 ratings
Джомо Канг Кар
2015
0.00 | 0 ratings
Sobek
2016
0.00 | 0 ratings
Seqenenre
2016
0.00 | 0 ratings
Terriconique
2016
0.00 | 0 ratings
Гнев Бога Хнума
2016
0.00 | 0 ratings
Сетепет
2016
0.00 | 0 ratings
Paraeidolon
2016
0.00 | 0 ratings
Mente Et Malleo
2016
0.00 | 0 ratings
Continent VI
2016
0.00 | 0 ratings
В Царстве Пещер
2016
0.00 | 0 ratings
Sicituradastra
2016
0.00 | 0 ratings
Axay
2016
0.00 | 0 ratings
Kushite
2017
0.00 | 0 ratings
Храм Менмаатра . Abdju Temple of Seti I
2017
0.00 | 0 ratings
In Core of Great Attractor
2017
0.00 | 0 ratings
Храм Менмаатра . Ib Em Hotep Em Abdju
2017
0.00 | 0 ratings
Храм Менмаатра . Osireion
2017
0.00 | 0 ratings
Father Sky-God
2017
0.00 | 0 ratings
Пета​-​ови Ханкешни
2017
0.00 | 0 ratings
Несуществующий Альбом
2017
0.00 | 0 ratings
ΞnDogΞnΞs
2017
0.00 | 0 ratings
Сihuatlamacazque
2017
0.00 | 0 ratings
Tlamictiliztli
2017
0.00 | 0 ratings
Qoriwinaymanta
2018
0.00 | 0 ratings
Chinkaywanuq
2018
0.00 | 0 ratings
Kwintu Tukuy
2018
0.00 | 0 ratings
Музыка Ахетатона
2018
0.00 | 0 ratings
Peripheral ▲ Cult
2018
0.00 | 0 ratings
Величие Руин
2018
0.00 | 0 ratings
Мааткара
2018
0.00 | 0 ratings
Музыка странствий: аэронавтика
2018
0.00 | 0 ratings
Музыкальные инструменты Древнего Египта [OST]
2019
0.00 | 0 ratings
Raw Ethos Сhthonical
2020
0.00 | 0 ratings
S​=​k. log W
2020
0.00 | 0 ratings
Сетепет
2020
0.00 | 0 ratings
Tayntnetert
2020

SENMUTH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

SENMUTH Videos (DVD, Blu-ray, VHS etc)

SENMUTH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
From Saturn to Uran
2006
3.00 | 1 ratings
Life of Songs (the Best)
2007
3.00 | 1 ratings
Songs of Life
2007
2.00 | 1 ratings
E.D.I.E.M.
2009
2.00 | 1 ratings
Wema Tayn
2010
2.00 | 1 ratings
The World's Out-of-place Artefacts III
2010
2.00 | 1 ratings
The World's Out-of-place Artefacts IV
2010
2.00 | 1 ratings
Amenti
2010
0.00 | 0 ratings
Anumana
2012
0.00 | 0 ratings
Unreminescence
2012
0.00 | 0 ratings
Emptyness Silence
2012
0.00 | 0 ratings
Многомерность Иллюзий
2012
0.00 | 0 ratings
Voices Of Revelation
2012
0.00 | 0 ratings
Umwelt
2012
0.00 | 0 ratings
Lightshiftuniverse
2012
0.00 | 0 ratings
Travellacirotsih
2012
0.00 | 0 ratings
Песни Арфиста
2012
0.00 | 0 ratings
Gerekh En Haty (Anima Remasters)
2012
0.00 | 0 ratings
Необратимость Исканий
2012
0.00 | 0 ratings
Борьба за Познание
2012
0.00 | 0 ratings
Безмолвное Наследие
2012
0.00 | 0 ratings
Senmuth & Friends - Trompe L'Oeil Vol.1
2016
0.00 | 0 ratings
Senmuth & Friends - Trompe L'Oeil Vol.2
2016

SENMUTH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 2 ratings
Ser Cercana
2007
3.00 | 1 ratings
Come To The Sabbath
2008
2.00 | 1 ratings
Merytneith
2009
4.00 | 1 ratings
Amenemhet III
2009
3.05 | 2 ratings
Khmerian
2010
3.00 | 1 ratings
29.03.2010
2010
2.00 | 2 ratings
Knigy Voznesenya I
2010
3.00 | 1 ratings
End [?] Сorrelation
2012
0.00 | 0 ratings
Megiste Syntaxis
2013
4.00 | 1 ratings
Цепи над Небесами
2013
0.00 | 0 ratings
The Cosmogonic Suite
2014
0.00 | 0 ratings
Paleognosis
2014
0.00 | 0 ratings
Shepseskaf's Chronicle (Featuring Serkan Falay)
2014
0.00 | 0 ratings
Senmuth and Lyuba Kolesnik (NAKKA) - Гори, История!
2014
0.00 | 0 ratings

2014
0.00 | 0 ratings
Ostrakon
2014
0.00 | 0 ratings
Коатликуэ, Богиня Земли и Огня (feat. Люба Колесник NAKKA)
2014
0.00 | 0 ratings
Wingsuit
2015
0.00 | 0 ratings
Mocochitia
2015
0.00 | 0 ratings
Work Like An Egyptian
2015
0.00 | 0 ratings
Мудрость Хорджедефа
2015
0.00 | 0 ratings
Crosswind Torment
2015
0.00 | 0 ratings
Унас, Обретающий Силу Богов
2015
0.00 | 0 ratings
Сон Императора Тайхао (feat. Roman Khrustalev)
2015
0.00 | 0 ratings
Nemerteya (Feat. Tangorodream)
2015
0.00 | 0 ratings
Senmuth & Berizar - Песни-Наших-Отцов
2015
0.00 | 0 ratings
Senmuth & Fernando Silva - Tempos De Liberdade
2015
0.00 | 0 ratings
Senmuth feat. Naakhum - Змајевски Jезик
2015
0.00 | 0 ratings
Senmuth feat. Чаша Познания - Tarawera
2015
0.00 | 0 ratings
Нефертари Мериэнмут
2015
0.00 | 0 ratings
Senmuth And The Shade of Crow - Cracked Mirror
2015
0.00 | 0 ratings
Ancestral Serbia (Feat. Naakhum)
2015
0.00 | 0 ratings
Текумсе
2015
0.00 | 0 ratings
Пентаур
2015
0.00 | 0 ratings
Падиаменопе
2016
0.00 | 0 ratings
Аахеперра Псусеннес
2016
0.00 | 0 ratings
Pangaea Ultima
2016
0.00 | 0 ratings
Chrysopoeia
2016
0.00 | 0 ratings
Eye Of The Sahara
2016
0.00 | 0 ratings
Meroitic
2017
4.00 | 1 ratings
Napatan
2017
0.00 | 0 ratings
Hanblicheyapi
2017
0.00 | 0 ratings
Палеоконтинент
2017
0.00 | 0 ratings
Пастбище Призрачных Туров
2017
0.00 | 0 ratings
Мезопамять
2017
0.00 | 0 ratings
Otlalticpac
2017
0.00 | 0 ratings
Амену Секхем: Память Песков (feat. Wervolka)
2017
0.00 | 0 ratings
Музыка из гробницы Нахта
2018
0.00 | 0 ratings
Анхесенамон
2018
0.00 | 0 ratings
Мересанх III
2018
0.00 | 0 ratings
Несипахерентахат
2018

SENMUTH Reviews


Showing last 10 reviews only
 Dиск.Oм.Форт by SENMUTH album cover Studio Album, 2013
4.00 | 1 ratings

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Dиск.Oм.Форт
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

— First review of this album —
4 stars I have to say that I prefer Senmuth when he remembers to be a guitarist and picks his 7 strings guitar up like in this album. The russian title is a sharade: "Disc" "om" "fort" (Discomfort).

The first of the three tracks starts with the mentioned guitar, naintaining an ethnic middle eastern mood from the beginning, but the closure is hypnotic with distorted guitar in background, the percussion and that sort of arabic trumpet. The second track is 24 minutes long but reprises the final theme of the previous one. After the intro there's some clean guitar, which is what I like the most from Senmuth: guitar; clean or distorted. And there's a lot of guitar in this album.

The track titles are a sort of loop: Symbol of Light, Light of Sound, Sound of Fortis. Effectively there are recurring themes.

Surprisingly, the long Sound of Symbol is like a bridge: after a lazy progression driven by few bass guitar notes, started fron the end of the first track, in the middle of the track it suddenly turns into a dark psychedelic piece made of percussion and background sounds like bells, noises, rings...very dark ambient music. Even if the guitar disappears in this section, also this is very good if you are in the right mood for it. This is the "discomfortable" thing the album title is likely referencing to. The background noises grow slowly involume and more bells enrich the soundscape, arriving to a sudden stop when the percussion becomes obsessively slow but loud. Behind is like wooden objects are percussed. Knowng Senmuth, it may represent people working on building something.

While this slows down and fades out, the initial theme returns from "downside". This is the bridge to the last track.

There's no pause between the end of the second track and the beginning of the third. Tabla percussion, a minor keyboard's chord, cymbals introduce a strange rhythm, an ethnic interlude and we are suddenly into dark metal with a loud and strongly distorted guitar, but the ethnic part persists in background and is alternated to the distorted phase. The sound of a violin is the glue between the metal and the ethnic parts. Tablas and cymbals are then left alone with some other percussion. It's another hypnotic passage. Accelerations with the presence of the guitar and dark ambient moments alternate continuously and approaching the end of the track there's also a bit of psychedelia before returning to the tablas main theme. Usually I don't like tracks fading out, but in this case I think that there wasn't a best way to close the album. It remains suspended.

Another very good album, despite the incredibly huge number of releases.

 Mistremendum by SENMUTH album cover Studio Album, 2013
3.05 | 2 ratings

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Mistremendum
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

3 stars The visual impact of the album cover comes first. It's. I suppose, a shot of the explosion of the shuttle Columbia, but it looks like a sort of big Angel of Death. Mistremendum is a word which appears in a christian book of 1602. All the track titles have something mystic: Boginya (track 6) in Russian means "Goddess", "Null Dies Sine Linea" is a sentence taken from the latin "Plinius the Old", so it seems that the concept behind resides in ancient books.

This is an unusually calm and melodic album for Senmuth. Dark as usual but with very few percussion. All the tracks are quite short. The whole album scores few more than 30 minutes and some are faded out in the final. Tremendum, which closes the album is a real highlight. Its melody is more consistent than usual. Who is familiar with Senmuth knows that the purpose of the music consists mainly in setting a mood, like an attempt to describe a place, a situation or whatever he wants using only the sensations provided by the music, and melody isn't very relevant in this environment. Mistremendum, instead has a very good balance between the exigence of dramaticity and the melody. The alternance of hard and slow parts doesn't cause any disturb. I just don't like the fading out at the end.

So, despite its shortness, this is a good album, good also for who approaches Senmuth for the first time.

 με oν by SENMUTH album cover Studio Album, 2013
3.95 | 2 ratings

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με oν
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

4 stars The continuous repetition of five heavy guitar chords for the first minutes of this over 40 minutes metal epic cam make you worry about it. Relax. It doesn't rely on those five chords for all its duration. It's a long suite made of different sections, and great part of them are very good.

Even if the sounds are typical of this artist and the ethnic middle eastern interludes aren't missed, "Me On" ("With Me" in Greek), is honestly one of the best Senmuth's albums that I've listened to up to now. For those who are used with his music, I can say that there's nothing really new, it's just better than usual. For the others, Senmuth is a one man band usually based on electronics, but he's also a good metal guitarist who uses 7 to 9 strings guitars. His music is very often insoired to the ancient civilizations, Egyptian in particular, and his ethnic interludes are often related to Egypt. His music is dark, even when he goes more "ambient", and this album is not different.

What I find good, is the continuity. Even changing from dark metal to ambient, to ethnic and back, there aren't sudden changes. The various parts flow one into the next so that it can be perceived as a true single track, not a patchwork of shorter pieces tied together (sometimes he did so in the past).

Despite the heavyness of some parts, strange to say, it may work also as background music, depending on your state of mind.

 [noemaontos] by SENMUTH album cover Studio Album, 2013
2.00 | 1 ratings

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[noemaontos]
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

— First review of this album —
2 stars With this album, Valery Androsov, aka Senmuth, is back to esotheric arguments. Well it's mainly virtual, as all the tracks are instrumental, except for a radio speech (in Russian) on the 4th track. It looks like Senmuth takes an argument and composes the music keeping the track title in mind.

This time, Egypt is far. I don't know what the first track is about, but "noem" should be about giving names to things, an argument that he will later resume in his album "Nomen Est Omen". The tracks mention the Celiabinsk meteor supposed to be fallen into the Chebarkul lake close to that city, the Luxor hotel in Los Angeles which is told to host paranormal activities which caused the deaths of 19 persons during the years, this kind of dark and obscure things...apart of "This is 404" which is the HTTP error message for "Name not found".

The music is quite usual for who knows this artist. There are less orchestral accents and no ethnic interludes, which is good. The Celiabinsk track is quite good, but in the end is the same kind of things that can be found in almost any of the more than 200 albums released under the Senmuth name.

The longest track is the closer "Fin Ontos" which I don't think is about American tanks. It should be something related to the ancient Greece. Not too different from the rest, but is more developed. I have the impression that the artist has given a bit more effort to this one than to the other album tracks.

Quite good if you are new to Senmuth (and like the genre), absolutely non-essential if you are already into his music.

 Amentsiya by SENMUTH album cover Studio Album, 2013
4.00 | 1 ratings

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Amentsiya
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

— First review of this album —
4 stars I don't know if having quit to follow Senmuth for a long time has made me appreciate his music more than before, but I have to say that this album stands between his best things. A truly guitar based one. It contains four tracks of about 10 minutes each and the first one is a proper metal track. In "Imitation Of Solitude", this is the translation from Russian, the usual contaminations are present, but there are also surprising things like a saxophone like sound at about minute 7. There are orchestral accents, heavy drums, it's like Valery has borrowed some of Vangelis' sounds, but most of all what makes this track very good is the electric guitar. The drums are programmed as usual, but it's not just a drone. He surely presses some buttons to make them sound like real drums. This is a real improvement.

Awakening Ritual (Anea Maa) starts with jungle sounds, birds accompanied by a minor chord. It reminds a bit to Epson in a Malaysian Pale, the second Edgar Froese's album, and being the ritual of the title a Polinesian thing, it's not too distant geographically. But after the intro there's a guitar explosion and it becomes closer to Opeth than to Tangerine Dream. The rhythm gives the idea of an orgiastic pagan ritual. Another very good metal track which in the central sectionsuddenly enters a psychedelic atmosphere for a while, then polynesian like choirs, likely recorded, enhance the tribal mood. The coda is a return to the jungle.

Half of the album is gone. Now we are somewhere else. The title means "The Face Of The Desert - Old Age Western Sands". Maybe the idea is about the Mexican deserts and Carlos Castaneda's books. Maybe not. It's just a title, but usually Senmuth names his tracks after places, stories or sensations. The lazy rhythm is similar to Camel's Rajaz, but the percussion are more tribal. This is a more usual Senmuth track, but just in the middle, the guitar resurrect the metal mood introducing it with some unexpectedly bluesy notes.

Chro[mental] is strangely melodic. It has the usual ethnic interludes, not as disturbing as sometimes happens with Senmuth because the track flows with continuity. If it wasn't for the sound used, the guitar on this track would have been Floydian.... for the first few minutes, then it's nothing else than good metal.

As I have written initially, I have the impression that this is one of the best albums in the over 200 released by Senmuth. I haven't listened to all of them yet, probably I'll need an additional life.

 Предзакатный Взор на Земли Папируса by SENMUTH album cover Studio Album, 2013
4.00 | 1 ratings

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Предзакатный Взор на Земли Папируса
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

— First review of this album —
4 stars Senmuth is back to the ancient Egypt, 24 centuries BC under the 5th dinasty. The Papyrus of Abusir is the most ancient example of aministrative documents. So not an epic poem like Gilgamesh or any strange esotheric finding. It's not much different from what a modern finance manager would write.

But it describes some of the life 4500 years ago, and Senmuth tries to do it with the music.

It's a sort of dark new age. This time he avoids falling into what I think are his bigger weaknesses: unnecessary chord changes and sudden alternances of middle-eastern ethnic and metal. The tempo is lazy. It perfectly gives the idea of the hot desert, and it's like looking through the "fogs of time".

This is sometimes interrupted by strong percussion like on track 3, which title means "Inside the pyramid of Sahura", but they are just few exceptions. The following "The Solar Temple of Uskarraf" would appeal also the fans of progressive electronic.

Until it remains on this quet dark environment it's an excellent album. Even at the "Headless Pyramid of Menkaukhor" when the percussion are strong, the feeling doesn't change.

If in my past reviews I have blamed a bit the sudden passages between metal and dark ambient, in this album the metal is almost missing. I don't know what happened with the bees in Abu Rawash (track 7), but this short track is great if you like the genre.

An unusual, for Senmuth, melody brings a bit of rock into the abum. Not bad at this point. Not a masterpiece but it's a good rock break between the ambient tracks. By the way, it has more melody than the average Senmuth, I think Track 9 is more challenging: just one chord and percussion coming and going but it leads to track 10, which is inspired to the Pharaoh Sekenkhet. To fully enojiy the album, as often with Senmuth, you have to let your mind go back in time to the ancient Egypt.

The album is closed by another short-living pharaoh: Shepseskaf. This track gives the sense of a funeral and a burial into the pyramid.

Many may think that 4 stars are too much, but if you like Senmuth, this is a good album to start with.

 Inside The Bent by SENMUTH album cover Studio Album, 2013
3.05 | 2 ratings

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Inside The Bent
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

3 stars 40 miles from Giza there's a complex of pyramids, but they are different and more ancient than those well known in Giza. The "Great beginning of Dahshur" is this: the start of the Egyptian greatness. This is why this unusually melodic tune starts at low volume to grow sowly. It represents a beginning. The mood changes suddenly with the second track. The sound of percussion like metal hammers (I think it's a Sistrum) give the idea of slaves working in the building of the Snefru Pyramid, the first with the known shape. No more big stairs. Just a bit more than one minute.

This travel through the Egyptian history proceeds entering the buildings of the ancient kingdom which started around the 2700 BC. Quite old, isn't it? The track starts with low volume sounds, like a sort of wind. The listener can imagine an archeologist entering a building for the first time. It's an electronic track, we could call it a drone, but the sound of a hammer gives it a dark atmosphere, sounding like a deadly bell. The track fades into "Descending Passageway", just to remain in the shoes of the acheologist. Also in this case there's no track of melody: just percussion and drone keyboard. The continuous sound in the background, is likely the Senmuth's 7 string electric guitar which after 1.30 minutes raises a melody, but without loosing the atmosphere created previously. A good track with changes in tonality not as disconnected as sometimes happens with this artist.

"Antechamber" brings us back to the darkness. Hammers again, over a windy background. Percussion are added to the hammer and the track is transformed in a sort of percussion solo giving the idea of a tribal rite. After 4 minutes the percussion stops leaving only the windy dark background.

It's clear that now we are descending into a tomb. We enter "Chamber I". Still driven by the percussion with almost nothing else than a background of guitar end keys, with the guitar playing long bass distorted notes. Listening carefully there's also some melody hidden behind the guitar. The key to this track is concentrate on that melody letting the percussion hypnotize you until, after 3;30 minutes, this long track intro is done. SInce now on this track which scores 8:40 minutes alternates different moments, all of them dark.

A "Connecting tunnel" made of a single chord arrives. All those "chapters" could be considered a single long suite as there's no much variance. The "Portcullis" is a sort of gate, door. To open it our archeologist has to try two different configurations. The first has chords and melody introducing another piece of percussion driven track which later calms down and goes back to a melodic section which lasts until the end. The Second configuration opens something. It's a mixture of ethnic music and electronic, quite usual for him.

Finally inside. The Corridor of Dead dust...how would you imagine the music here? I think the intro couldn't have been different. Then it proceeds more structured. "Nebmaat" is a synonym of Snefru. So the pyramid's owner. In his sepolcral room we think to have finally reached the core of it all, but there's some more: the second great chamber. This is a track that can live standalone, while still being part of this sort of suite.

Now our archeologist has seen everything. It's time to reconsider this descent. In "Atmosphere of life and death" the hammer is back. Again it's drone sounds and the hammer plus some tapes here and there and accents from a heavily distorted guitar. A 13 minutes track that could have been recorded by Phrozenlight, if it wasn't for the guitar which plays some notes which becom a sort of repetitive melody. Quite Berlin school.

The closer doesn't add much to the album. It's so silent that I can say that it doesn't add anything. But its title "The Stone Dust of the Millennium" says all.

In brief, it's an album which requires its moment and the wish of getting lost in its mood.

Senmuth says:

"The album was written after visit the Bent Pyramid of Dahshur by the "ISIDA Project" expedition in 2012"

It explains all.

 111 111 111 x 111 111 111 by SENMUTH album cover Studio Album, 2013
4.00 | 1 ratings

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111 111 111 x 111 111 111
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

— First review of this album —
4 stars I don't know if Senmuth has been disappointed by the missed "end of the world". He closed the 2012 with the good EP End[?]Correlation which was inspired to the Maya prophecy, then he opened 2013 with this album which doesn't fit in any of his ethnic-geographic-histprical subgenres (look at the right side of his homepage). The album title is a multiplication which simply returns 12345678987654321. No reference to any disappeared ancient civilisation or myths.

Only Apparently. Translating the track titles we can see a "design".

The album is opened by "Act:Creation", an unusual kind of track for Senmuth. It's quite melodic and not too dark. It's promising, but when the sitar introduces "Sleepless Dreams" we are in a strange suspended world. A heavy bass backed by his distorted 7-strings guitar repeats itself in a hypnotic way, like it often happens in Krautrock. The difference is in the sitar sound which leads the track. It's quite a stoner.

The good surprise comes with the 3rd track, "Mythological Anomalies". Here the repetitive bass and theindo- arabian melody played by the guitar are unexpectedly Floydian. It reminds immediately to the atmospheres of Set The Controls For The Heart of the Sun. It would fit easily in the psychedelic/space-rock subgenre, more than in metal. I think it's one of the best things I have ever heard from Senmuth.

"Constellation Lonely Snake" is inspired to India. I think it's the snake of the title. Another hypnotic track on the borders of psychedelia. Some sounds can also remind to Vangelis, anyway this is another very good track.

"Archaic Sound" is opened by an acoustic guitar backed by keys mimic of a pan flute. It doesn't sound like Senmuth. Very unusual, it has an Eastern Europe feel which reminds again to some Vangelis, just to give an idea. The melody is played by what sounds like a bouzuki. I think I've never heard so many major chords in a Senmuth's track.

Then comes the metal at least in the sound: "Doubts in its Infancy" gives finally room to the distorted guitar which takes the role of the bass. The rhythm is still lazy but the sounds are heavy. When the bass enters it turns again into a sort of psychedelic rock. I wouldn't recognize Senmuth if it wasn't for the indian kind of percussion. This is the longest track of the album and it's another stoner. I would have avoided the piano interlude in the middle because it destroys the atmosphere previously created, but it's just a change in the sounds, with the guitar taking the lead, then it returns to the main theme.

"The Background Process(Evolution)" is the first album track perfectly in line with the usual Senmuth. Unusual guitar passages which seem to be randomic which are replaced by a ethnic section. It's a dark track, still hypnotic. Not bad but not a highlight.

"Spatial Vision" is totally different. Is opened by drums and a keyboard which is between Vangelis and Tangerine Dream. It changes mood quickly, turning into a dark instrumental. I would have apprecieated more if it had followed the initial path, however it's another "good enough" track. It's good that all the tracks have a lazy rhythm. It gives consistency to the album.

The closer is "Prejudice To Oblivion". Heavier in sounds, it returns to the initial mood: heavy repetitive bass and oriental melodies. When it relaxes only bass, tablas and keys remain. Again I can call it a psychedelic track, a good closer for this instrumental album. A stoner track of about 10 minutes which includes the usual ethnic elements but keeping them very well immerged into its can of heavy sounds.

A pleasant surprise for who likes to be hypnotized by music.

 End [?] Сorrelation by SENMUTH album cover Singles/EPs/Fan Club/Promo, 2012
3.00 | 1 ratings

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End [?] Сorrelation
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

— First review of this album —
3 stars This EP is the last release of Senmuth in 2012, one of his most prolific years. As you may remember, it was the year of the Maya prophecy about the end of the principal cycle of their calendar. The two tracks titles are referring to the correlation between the Mayan and the Gregorian calendar and the two numbers are just the Mayan dates about which some studious were debating: was the first or the second the prophecy date?

Listening to the two tracks, I guess that Senmuth was more in favor of the second.

The first track is more ambient, even if the sounds are powerful, with the electronic percussion at high volume. The guitar is the main instrument and there's something Floydian in the melody which is based on just one minor chord.

The second track leans more toward metal, especially because of the rhytmic part sustained by a distorted guitar. With a different rhythmic section the discontinuous medioriental melody played by the guitar could be defined Floydian as well. Anyway, personally I like the first most.

A mention is deserved by the EP cover, painted as usual by Senmuth which helps entering the right mood.

 Энграмма by SENMUTH album cover Studio Album, 2014
4.00 | 3 ratings

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Энграмма
Senmuth Experimental/Post Metal

Review by Gabriel Lara Brigant

4 stars Engram is Senmuth's 150th album which furthers down into the dubstep elements that the artist has been experimenting in recent past efforts. Overall it is a very good, solid mixture of said genre and the metal and ethic regular stuff.

"t quark" is the typical introductory track to set the mood into the album which while is not in itself representative of the whole set-list is very good to intrigue the listener, soft pianos ambient-like and background pad atmospheres

"«(You ?) Foundation of Megapolis»" In the other hand, starts way different from the intro track almost cutting the atmosphere created by its predecessor all in a good way. The song starts with some heavy down-tuned guitar cords that sound like death metal almost to math-metal, there is also some really good fast bass picking every now and then giving a song another layer of tension to the overall track. The introduction of the Dubstep elements first appears in this track although very slightly without becoming a main element in the whole song except for a couple of moments, there is also a heavy use of glitches in both the instruments and the vocals without sounding too off.

The vocals this time seem like and odd mixture of the early Senmuth Albums where it was more high pitched going more for the EDM/industrial style and the later more harsh, deep metal vocals feature prominently on albums like "Akhet Meri Ra" and Sebek", this two styles almost seem to clash to seem like two different kind of mentalities are singing the lyrics.

«Anti-scientific Model [Heresy in the Forefront of Discovery]»: The second track speeds down the tempo and changes the drum-machine to another interesting style while also letting go some of the tension of the last song, the guitar work here is simple yet effective enough to be remembered and enjoyed, being one of the main elements of the song while the electronic elements is present is mostly backing up with harp-like tingles and whatnot and coming to front briefly at the bridges. Good track overall.

"«Epoch» Эпоха «Like»" Returns the tempo a few notches up with the guitar, bass and sitar exchange becoming more edgy; throughout the song there can be heard a tingling bells percussion instruments of some sort, the vocal glitching here is very on beat and well done, the dubstep parts start to become more aggressive without over-lapping but instead merging nicely.

"Bitu Men, Dancing with a Tambourine Around the Limestone Block" Works as an interlude, driven by with different middle-eastern percussions and wind instruments in the echoed background. It really succeeds to communicate the theme of the title where a tribe might be dancing to the song in a mysterious ritual, the track is short enough to convey the idea and fade out and not feel over-drawn or monotonic in nature.

"«Internal Record [Engram]»": Brings back the guitar this time played in a more heavy metal style while accompanied by ethic female and male vocal samples before being picked up by Senmuth vocals adding the dubstep growling on top, funny enough there is an instrument here that sounds almost like a cowbell entering in some parts which add some nice groove to the mixture, while the female vocals are good they could perhaps be on more quantities to feel like a more complete song rather than just a quick use-and-dispose thing.

"«Your Life - Polygon»" Sees the electronic part and the glitchy-editing taking over the song above all, affecting even the main guitar, it almost feel like the remix of an existing rock song. The vocals and guitar melody make a very good atmosphere, the ethic element here is very much self-contained in the bridge section, Indian-style sitar played very effectively without breaking climate.

"Чайник Рассела ? Russell's Teapot" Starts off as an energetic and rolling unmistakably dubstep track full of growling basses and electronic beeps while still maintain the senmuth style, the only real string instrument is played very simply giving a nice layer to it in a very strange paranoid way.

"«The Final Song of Oceanides»" Is another very good song; mixture of heavy metal (almost thrash) guitar work and there is a very good element rightfully exploded here of spooky keys that almost sound like operatic female vocals and a convoluted string section for a short time that feels very cinematographic

"«Pitstop» (voice fade out 152 sec dubstep mantra)" Closes the album with the dusbstep synths above all the other instruments in a very curious and catchy loop; another well-done experimental element that I would like to praise is the vocal background loops oscillating, it was a very neat idea. This particular song feels more like and experiment on how he could post-edit all the elements he originally started with while he first recorded them.

Overall it is a very good and energetic album with enough good ideas and experimentation along the more regular and non-regular guitar work. Full of crazy post-editing, glitches and contemporary musical devices. Definitely worths to be listened.

Thanks to Any Colour You Like and J-Man for the artist addition. and to NotAProghead for the last updates

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