Header

SENMUTH

Experimental/Post Metal • Russia


From Progarchives.com, the ultimate progressive rock music website

Senmuth picture
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.

Senmuth official website

SENMUTH MP3, Free Download (music stream)


Open extended player in a new pop-up window | Random Playlist (50) | How to submit new MP3s

SENMUTH forum topics / tours, shows & news


SENMUTH forum topics Create a topic now
SENMUTH tours, shows & news Post an entries now

SENMUTH Videos (YouTube and more)


Showing only random 3 | Search and add more videos to SENMUTH

Buy SENMUTH Music


Right Now on Ebay (logo)

More places to buy SENMUTH music online Buy SENMUTH & Prog Rock Digital Music online:
  • AmazonMP3: Search for SENMUTH DRM-Free MP3 Downloads @ AmazonMP3 (USA Only) | AmazonMP3 (UK Only)

SENMUTH shows & tickets


SENMUTH has no upcoming shows, according to LAST.FM syndicated events and shows feed

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
3.49 | 5 ratings
Izoteri-Ka
2004
2.98 | 4 ratings
Vdol Puty k Podnebesnoy
2004
3.00 | 3 ratings
Swadhisthana
2004
3.02 | 3 ratings
Precession
2005
2.50 | 4 ratings
No More Sense
2005
3.14 | 4 ratings
RXG-242-11
2005
3.20 | 3 ratings
Kami-No-Miti
2005
3.00 | 3 ratings
NewOldLive
2005
3.54 | 3 ratings
Oracle Octave (Part I: Orion Mystery)
2005
2.50 | 4 ratings
Slishkom dolgo i pusto
2005
3.05 | 3 ratings
Oracle Octave (Part II: Sirius Mystery)
2005
3.00 | 3 ratings
Rajas
2006
3.00 | 3 ratings
Nasledie
2006
3.89 | 7 ratings
Probuzhdaya Sluchaynost
2006
3.94 | 6 ratings
Path of Satiam
2006
3.61 | 4 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
3.98 | 6 ratings
Bark of Ra
2007
3.00 | 3 ratings
Evolution: Exodus
2007
2.57 | 4 ratings
Er Hu Peret Em Heru
2007
3.55 | 4 ratings
Rain Eclipse
2007
3.02 | 5 ratings
Morning Depth of the Sunlight and Emptiness
2007
2.80 | 3 ratings
Ra Dhi
2007
2.62 | 5 ratings
Ancalimon: Fates of Odemyr
2007
2.05 | 3 ratings
Nature
2007
3.60 | 3 ratings
Planetary Dust
2007
2.02 | 3 ratings
Calendar Complex
2007
4.00 | 3 ratings
Contextual
2007
3.00 | 3 ratings
Light, Sound, Sacral Geometry & Energy
2008
2.54 | 3 ratings
Rezonans
2008
3.02 | 3 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
3.04 | 4 ratings
Weird
2008
3.62 | 5 ratings
Lotos Prityazhenya
2008
3.00 | 2 ratings
KaaraNa
2008
3.40 | 3 ratings
Velichye i Tainstvo Kavkazskih Gor
2008
4.00 | 3 ratings
Kemet High Tech. Part I: Artefacts
2008
3.61 | 4 ratings
Kemet High Tech. Part II: History Illusions
2008
4.02 | 3 ratings
Sebek
2009
3.67 | 4 ratings
Exouniverse
2009
3.51 | 3 ratings
Zekhenu Uaut Setekh
2009
2.50 | 2 ratings
Tenha Vuva
2009
3.07 | 5 ratings
Ahet Meri Ra
2009
1.80 | 3 ratings
Tishina Posle Vspleska
2009
2.50 | 2 ratings
Neocortex
2009
3.02 | 3 ratings
Rstw
2009
3.20 | 3 ratings
Madinat al-Mayyit
2009
3.00 | 2 ratings
Knigy Voznesenya II
2010
3.05 | 3 ratings
Deathknowledge & Lifeperception
2010
3.03 | 4 ratings
Sekenenra
2010
2.25 | 4 ratings
Chambers
2010
4.02 | 3 ratings
Pat Hof Neu Rog Ene Sis
2010
2.50 | 2 ratings
Ankhiteru
2010
3.07 | 4 ratings
Nagaratyanta
2010
3.03 | 4 ratings
Svara Tiras
2010
3.55 | 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
2.54 | 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
3.67 | 2 ratings
Expanding Architecture
2010
3.00 | 2 ratings
Meritseger Cult
2010
2.00 | 2 ratings
Mal'akatu
2010
2.95 | 3 ratings
TE-E-MA
2010
3.00 | 5 ratings
Hexeractime
2011
4.00 | 1 ratings
Farhakote
2011
3.00 | 2 ratings
Enigmatic Nubian Mask
2011
4.00 | 2 ratings
Proscyneme
2011
3.00 | 1 ratings
Cryptomnesia of Hidden Art
2011
2.50 | 2 ratings
Trmmis
2011
3.00 | 2 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 | 1 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
3.10 | 2 ratings
The Primordial Deity
2012
3.00 | 1 ratings
Nedjemmet
2012
3.00 | 1 ratings
Amn Tf Nkht
2012
3.00 | 1 ratings
Hagwalah
2012
3.09 | 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
0.00 | 0 ratings
111 111 111 x 111 111 111
2013
0.00 | 0 ratings
Inside The Bent
2013
0.00 | 0 ratings
Предзакатный Взор на Земли Папируса
2013
0.00 | 0 ratings
Amentsiya
2013
0.00 | 0 ratings
[noemaontos]
2013
0.00 | 0 ratings
με oν
2013
0.00 | 0 ratings
Mistremendum
2013
0.00 | 0 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
3.50 | 7 ratings
Энграмма
2014
3.11 | 9 ratings
Snefru, Lord Of Harmony
2014
3.00 | 7 ratings
WAB SWT WSRKAF
2014
0.00 | 0 ratings
ΑiΣΘΗΣΙΣ INTEGRA
2014
0.00 | 0 ratings
Ethnadjentscore
2014
0.00 | 0 ratings
Triassic
2014
0.00 | 0 ratings
Jurassic
2014
0.00 | 0 ratings
Cretaceous
2014

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

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

3.00 | 1 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
3.00 | 1 ratings
Khmerian
2010
3.00 | 1 ratings
29.03.2010
2010
2.00 | 2 ratings
Knigy Voznesenya I
2010
0.00 | 0 ratings
End [?] Сorrelation
2012
0.00 | 0 ratings
Megiste Syntaxis
2013
0.00 | 0 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

SENMUTH Reviews


Showing last 10 reviews only
 Энграмма by SENMUTH album cover Studio Album, 2014
3.50 | 7 ratings

BUY
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.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Точка Невозврата / Point of No Return by SENMUTH album cover Studio Album, 2012
3.00 | 1 ratings

BUY
Точка Невозврата / Point of No Return
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

— First review of this album —
3 stars This time the concept behind this Senmuth's album is more cryptic than usual. From the track titles I can't guess which kind of secret knowledge is hidden behind. To try making it simpler I'll write their "google translations".

"Returning To The Lost Property" is an interesting track. Senmuth has quit with the useless changes of pitches which were affecting his music in the early years but he still indulges in sudden passages from metal to something else. Usually it's ethnic, but this time is soemthing diferent.This one minute intro is made by what seems a zither and fades into "Defeated Modernity" which is a metal track featuring a good guitar part with that sound which is characteristic of Senmuth, a trademark and one of his technical secrets. A short sudden stop filled by violin pizzicato instead of by the usual indian-arabic stuff is a nice surprise. A very good track overall.

"Harbinger Of Exodus" (I think harbinger means something like "precursor") returns to the previously mentioned indo-arab sounds, but this time they are not "alternative to metal" as usual.They are integrated with the other instruments instead and the result is surely better. What I have started to find disturbing are the ethnic "interruptions". On this track this doesn't happen. It's not the world flavor itself, is how it's used.

This is the good thing of this album: it's a "fusion" of metal and ethnic, not a "mixture". "Unlock Time" is an excellent track in which all the trasitions are smooth. One of the album's best.

Initially the rhythm of "The Era Of Anti-Heroes" seems taken from Vangelis, but the drums come quickly to change the mood. It doesn't seem to be an electronic drum kit this time. I think Senmuth has found some fun in building a track around the drums which usually are not the most relevant element of his music.

"The Era Of The Substitution Of Concepts" is a metal track full of distorted guitar with the ethnic element in background and a sinister keyboard layout. Unfortunately it's affected by the sudden stops, but at least the restarts are nice.

"Black Whitelist Of Names" opens with a strange melody but turns quickly into metal. The melody comes back between a guitar riff and another. Sudden stops are present also here but they are not too long or invasive.

"Approaching Critical Mass" starts with a bass riff which sounds classic rock, then turns into metal but with an unusual acid and bluesy influence, something that is very uncommon with Senmuth.

"From The Reference Point To The Point Of No Return" is the closer and the longest track. It has a dark ambient start. This track is a bit discontinuous. Not bad, but sound like a patchwork of several things tied together. Probably this is what Senmuth was trying to achieve: a sort of path (what in general connects one point to another). The guitar sounds more melodic than usual and if it wasn't for the sudden break at minute 4:40 I'd say it's the best track. Well, the breaks, taken alone are not bad and in this case, the theme in the break returns in the main melody. The problem stays in the transitions.Another curiosity is the fadeout at around minute 7 and the last two minutes at a very low volume, like one has to expect a ghost track which doesn't come...strange.

Closer to the 4 stars than the previous 4 albums, but still not enough. Some good moments, anyway.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Semrük-Bürküt (feat. Serkan Falay) by SENMUTH album cover Studio Album, 2012
3.00 | 1 ratings

BUY
Semrük-Bürküt (feat. Serkan Falay)
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

— First review of this album —
3 stars The news with this Nth Senmuth's album are mainly two: a new collaboration with the Turkish metallist "Serkan Falay" which, as Valery Androsov is very deeply into ethnic music other than metal and the fact that this is one of the very few Senmuth's albums which are not downloadable for free.

The "concept", whatever it is, comes from Falay, but neither Google has been able to translate the track titles. The music is very "Senmuth like", with the usual, and sometimes useless alternance of ethnic and metal moments. The metal parts are quite good, anyway. The addition of another musician and composer who is not just a guest gives the metal parts some more "salt".

Falkay plays also on the ethnic parts, as he plays the ud which is a typical Turkish instrument,similar to a big mandolin but fretless and curve like a lute. It can be listened throughout the album.

The album is only 33 minutes long, so quite an EP in the digital era, even though I remember shorter vinyls. Hakan is for me the best track, because even with all the drastic changes from metal to ethnic and vice-versa, it shows a bit of continuity. Not a bad album, but I haven't found anything special on it, surely because I have listened to about 100 albums of this very prolific artist. A newcomer can find it interesting, but for me there's nothing new here.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Embrace Stones by SENMUTH album cover Studio Album, 2012
3.00 | 1 ratings

BUY
Embrace Stones
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

— First review of this album —
3 stars As often happens with Senmuth the track titles are the key to his music. The ethno-ambient opener is inspired to Sigiriya. It's the Sri Lankan temple on the top of a mountain which appeared in a quite famous Duran Duran video (I don't remember the song). Of course the music, less dark than usual, doesn't have anything to do with that 80s stuff.

Following this we have the Sardinian "Nuraghes", characteristic of that Island, nobody knows what they were for. They are very ancient and are high cones of stones opened at the top. The heavy percussion give the idea of a ritual and effectively Nuraghes were likely a sort of primitive temples. The music is too "eastern". Sardinia has its own culture and musical traditions. This track is not bad but it doesn't give the idea of a sunny mediterranean island.

"Sacsayhuamán" means "Satisfied Hawk" even though it topography represents a puma, and is a site in Peru, so on the other side of the world. This time the melody is in charge of the sound of a pan flute which is effective in giving the idea of the Andes. The track is quite dark and very interesting.

The esotheric theories of Valery Barrow appear once mor in a Senmuth's album. Kariog's cave is in Australia but there are hyierogliphs which seem Egyptian inside. Valeria says that it's a sort of portal which can be crossed dreaming (as the Aussie aborigens say) It's a very dark track with a spacey final.

The sound mimic of a bagpipe transports us to the longest fjord of Norway, "Sognefjord", for a two minutes travel. Nice but I don't get the point. At least I don't know what esotheric thruth can be found there.

Now a sad story: in the 90s, the Talibans destroyed two enormous statues of Buddah in a site called Bamiyan. Monumets built between 1800 and 1500 years ago which resisted to the desert for all that time being, destroyed with explosives because of ignorance and stupidity. I don't know if the music sounds sad to me only. It's based on minor chords and the rhythm is not tribal or obsessive as often happens with Senmuth. By the way, there's an international project ongoing to rebuild the two monuments.

"Khajuraho" is a group of monuments in India. This gives Valery the possibility to come back to his roots with a track which alternates dark-ethnic and industrial metal.

The desert of Karakum occupies the 70% of Turkmenistan in central Asia. It has black volcanic sands. There's an interesting place inside it, called "The Karakm Hole" or "The Door To Hell". I just paste here part of an article published by the Daily Mail:

"Soviet geologists were drilling at the site in 1971 and tapped into a cavern filled with natural gas. But the ground beneath the drilling rig collapsed, leaving a hole with a diameter of 70 metres. Fearing that the hole would lead to the release of poisonous gases, the team decided to burn it off. The hole is located in Derweze, in the middle of the Karakum Desert in Turkmenistan It was hoped that the fire would use all the fuel within days, but the gas is still burning today. Look at a photo of the site while listening to this weird track.

I don't know to what the last track is inspired. "Followed Giants" is too generic and if I search on the web I find only baseball. But it's the best album track with its 9 minutes of dark ambient which someties can remind to the nasty brother of Vangelis. The tempo is lazy, like a "Rajaz". It's mainly a single minor chord with slow percussion on which everything happens in the background. Ideal for a Sci-fi or horror movie soundtrack. This is the side of Senmuth that I personally prefer.

Not a special album but a good one.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Sacrumental by SENMUTH album cover Studio Album, 2012
3.09 | 3 ratings

BUY
Sacrumental
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

3 stars The first thing that one can notice in this Nth Senmuth's album is that the usual mixture of genres (dark ambient, ethnic and metal) is almost absent, at least from most of the tracks. This album is very metal oriented even if there's a lot of electronics especially in the rhythmic.

Heavy drone percussion and very heavy guitar are the predominant elements of the first two tracks which could have been excellent with a bit more effort in the "melody". Not that a metal track has to be melodic, but just pumping on the instruments may be not enough. However they are not bad.

Some elements are so radicated in Senmuth's way of composing that doing without seems to be very hard. The frequent interruptions (usually once or twice for each track) by spare ethnic interludes are not used on this album, but thay are replaced by something else. Still metal, no ethnic neither ambient. Just low-volume breaks. I have to say that they are less breaking and less frequent than the ethnic ones on other albums.

Going to the album's end, "PHARMAgeddon" is the real highlight, This track features a very good guitar, sounding as often like an arabic trumpet, but following a very good line and not changing too much the album's metal feeling. The closer track proceeds on the same path but I would have expected more by a closer.

In any case, while I sometimes wonder whether Senmuth is in the right place on this site, this album deserves the "Experimental/Post Metal" classification. The serie of quite good albums released by Senmuth in the second half of 2012 proceeds on the good quality level of the previoust 4 releases but on the metal side.

Still non-essential but a nice listen.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Hagwalah by SENMUTH album cover Studio Album, 2012
3.00 | 1 ratings

BUY
Hagwalah
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

— First review of this album —
3 stars This time Senmuth goes some 4500 years ahead, leaves Egypt but remains in the middle East. After a number of ambient albums he's now back to industrial metal. Hagwalah is a kind of illegal sport practiced in Saudi Arabia which is very crazy and dangerous. It's a sort of car racing in the traffic which often causes casualties. The movie of a human arm thrown off the window of a crashing car is on the album's page on Senmuth's website and is very disturbing. I have watched it just once and I think you should be advised of what it contains before you click on it.

Despite the weary subject for which I don't feel a particular sympathy I have to say that the album is good.

"Hagwalah Accident" is a good guitar-driven metal track with vocals maybe recorded from an Arabian radio but it may also be somebody singing in studio as the voice is quite clean. The contrast between the heavy guitar and this Mu'adhdhin-like singing is amazing. Different from the usual and repetitive ethno-ambient fusions. Apart of those vocals, everything in this track is heavy.

I don't know if "Camry" refers to the old Toyota car, but with the album's subject I guess yes. "Camryterrorism" is uptime. Its drone background is like an accelerated Pink Floyd's "On The Run".

"Desert Death Drifting" gives the idea of a motor running. It's another metal track with the guitar playing long high pitched notes perfectly fitting with the noisy percussion and the arabian vocalsas in the first track but just in the background here. Likely the same sequencing.

"Nefo Fatal Accidents" is a short heavy track on which the lead guitar is good but it's too disconnected with the usual ethnic interruptions. It doesn't show a direction but it's just three minutes long.

"Ejects Driver And Passengers" has an atmospheric start of slow percussion and arabian singing in the background which sounds distand and dreamy. Even when it becomes a little harder it can be considered an ambient track which is good in breaking the industrial metal for a while.

"Bloodsand of Saudi Arabia" is the less exciting track up to this point. It's not different from the hundreds of similar tracks released by Senmuth since 2004 to now. It becomes a bit more interesting in the second half but you can randomly pick one of the Senmuth's album and be confident to find something similar on it.

"Car Suicide On The Streets" is another uptime industrial-ethnic track. Better than the previous, but it's still "usual".

"Saudi's Drifting Phenomenon" continues with the fusion of Arabian and metal as on the first track. I think this one has its sense.

Now the mystical/esotheric side of Senmuth can emerge. "High Speeds Flirtation With Afterlife" seems to mean a research for Death, maybe a possible explanation of the drifters' strange behaviour. Still a dreamy ambient track full of darkness in the first half, turns back into industrial and ethnic in the second half. I would have preferred if he avoided interrupting the rhythm with the usual sudden ethnic interludes.

"Mash'Allah" means something like "Thanks God", depending on the context and also the country as it's used even by some European populations. It's a very short ethnic closer but very nice.

I don't know why a sibject of this kind is entered into Senmuth's discography. Also the cover desing is extraneous to the rest of this huge discography. It starts well but has some weak moments in the second half which prevent me from rating it with four stars. "Only" 3.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Amn Tf Nkht by SENMUTH album cover Studio Album, 2012
3.00 | 1 ratings

BUY
Amn Tf Nkht
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

— First review of this album —
3 stars AMN TF NKH is a transcription from hyerogliph and is the name of Amon-Tefinakht, who reigned oved Saqqara (Menphis) about 4500 years ago. His wife Neytikert wa salready subject of another Senmuth's album: Akhet Meri Ra. This is a sort of digital boxset of 4 albums with the first two which can be considered EPs and the others as "short" full length. It's on this site as "album" because all the material is previously unreleased. It's a concept album but I'd need an Egyptologist to trace back the whole story which I have the impression is an amazing one.

Disc 1 is subtitled (forgive my bad Russian) "The Secret Burial Site of Saqqara - Prologue" Going track by track would take the whole home page, so I must be synthetic. This disc is the shortest of the set. It's mainly ethnic dark ambient (as a good percentage of Senmuth's albums is), but this time the music has a bit of melancholy which is an element usually extraneous to this artist. The metal element is totally absent and the ethnic is the prevalent one. I find this first album very pleasant.

Disc 2's subtitle is "The Temple Singer Iusat Neytikert", This is where the story begins. I guess, but I'm not sure, that Tefinakht meets Neytiket in a temple during a journey to Uaset, the City of Hundred Gates. Also this Uaset was mentioned in Akhet Meri Ra. The track 4 is particularily interesting, not only from a musical point of view, but also because is dedicated to Imhotep who was not only used as "bad guy" in the movie "The Mummy" but was also an architect, so a colleague of Senmuth. The mood is still ethnic but the music gives the sensation of the true beginning of the story.

Disc 3 is "Sacred Magic" In this album there's more guitar and the ethnic element is mainly in the percussion. There's a female (or high pitched male) uncredited vocalist on this track. If it's a keyboard please tell me the model. The parossistic drums of track 9: "The tomb in the necropolis Hutkaptah" represents a very good moment. I also like the very short track 11: Mysterious Death of Sahtu (nothing to do with Northwest Territories, I guess).

Finally, Disc 4. Nehemrah, which I think is mentioned in the ancient Testament kills Tefinakht (this is what I guess from the track's titles). There is a second burial because Neytikert claims her husband's ashes and everything ends with ghosts in the tombs. This is the longest of the four albums and has some good moments. Of course we are at about two hours of dark ethnic ambient so if you are not in the right mood it's better not attempting it in one shot.

Also this time I have the temptation of rating this album or boxset with 4 stars, but there's still that bit of originality missing in the compositions. I have to say that the average level of the senmuth's releases in 2013 is above his usual, probably a sign of maturity.

I'm curious to do more researches about the story of the characters, anyway.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Nedjemmet by SENMUTH album cover Studio Album, 2012
3.00 | 1 ratings

BUY
Nedjemmet
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

— First review of this album —
3 stars This time I have struggled a bit in finding out who "Nedjemmet" was, thinking she was a priestess or a Goddess. Non of that: "Met" in ancient Egyptian language means "statue" and the album title refers to the statue of Prince Nedjem which was found in Karnak. The hyerogliphs on the statue, I understand, mention the "Goddess of Sacral Ecstasy and Sexual Pleasure" whose nameis Qadash. In brief, I think that this album is about the Egyptian version of the Tantra sexuality.

"Female Creative Principle" is a dark ambient track based on a keyboard layer with chords and percussion which remind to Vangelis. The minor chord is sometimes transformed into major by increasing the third by a semitone during the decay. I really like it. The ambient side of Senmuth is in my opinion his best.

"Symbols of Eroticism and Fertility" has ethnic instruments which create a sound similar to a cymbal with fast bongos in the background, then the main theme of the track arrives. I don't know if "eroticism" is a correct word and don't think that this music can be used for a love or even a porn movie soundtrack. It's still ambient but very approachable and unusually light for the Senmuth's standards, probably because there are more major than minor chords. Nice melody, too.

"Lake Of Flowers and Garden Of Birds" starts without percussion. A sort of "cetra" plays few notes over a dark layout and the congas which soon arrive add peace instead of noise. This track has a far-eastern flavor and is unexpectedly relaxing, something not very common with Senmuth, birds included.

"The Cult Of Goddess Birth" continues with the slow-tempo dark ambient mood but it's less interesting than the others. If one is new with Senmuth it can be ok, but there is plenty of this stuff in the over 100 albums released by this super-prolific artist.

"Goddess of Sacral Ecstasy and Sexual Pleasure" is about the Goddess, not the sexual pleasure. The music has something mystical, but this is everything but unusual in Senmuth's music. The instrument which may be an Egyptian violin, that instrument with one string only typical of modern Egyptian folk (at least this is how it sounds like) is an unexpected highlight.

"Bewitching, Stealing Qetesh" has a slow tempo which adds a touch of weirdness to he music which is driven by what can be a guitar effect. Qetesh is a different transcription of Qadash. Good track also this.

If "Met" means "statue, "Merut" in hyerogliph means "love", so "Nedjemmerut" means "the love of prince Nedjem". With a lazy tempo with ethnic sounds, this track is not much different from the rest of the album. Still good enough, but there's too much stuff of the same kind all together.

The Kalaziris of the following track was a women's garment, a sort of long mantle which could have been "sexually actractive". More melodic than usual is another good track, but Senmuth is better when dark.

"Iusaas, She Comes in Greatness" is a different Goddess with similar characteristics as Qadesh. She is from Heliopolis and belongs to the cult of Aton-Ra while Qadesh is from Karnak and more ancient. Honestly this track doesn't do much for me, but it's because it's too similar to the rest of the album and at this point we have already had more than 40 minutes of it.

The violin of "Divine Concubine" even pushing the music more on the ethnic side has a revitalizing effect. Also percussion is back and without modifying the general mood which pervades the whole album brings that bit of difference which makes possible distinguish one track from another. The congas interlude is very appropriate and helps bringing the attention back.

"Fertilisation Ritual on an Altar of Min" has a faster tempo and more compulsive percussion. Min was the God of procreation, so the one who naturally comes after Qadesh, I think. This is one of the most interesting album's tracks.

"Final Sacred Symplegma of Temple Divas" has made me wonder a while about the meaning. It's a Latin word derived from Greek which indicates an entangled complex group....in few words a gangbang. From this subject one could expect some parossistic rhythms to give the idea of an orgy, but this is another quiet ambient track, a good one too. Just to demonstrate that sexuality is here intended for its religious aspects, as well as in Tantra-Yoga practices.

The defect of this album is that's a bit too long, but taken in smaller parts it's all good and this also depends on the kind of attention that one pays to it. Listened to as "ambient" in the background is different than listening carefully for a review. It deserves three full stars, they could have been four with just a little more effort.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 The Primordial Deity by SENMUTH album cover Studio Album, 2012
3.10 | 2 ratings

BUY
The Primordial Deity
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

3 stars One of the things that I like when reviewing Senmuth is when Valery Androsov dedicates his instrumental music to concepts related to ancient Egypt and Esotheric things, as he shows a very deep knowledge of both. It gives me the opportunity, other than speaking of his music, to dig into the web searching for the meanings of his tracks. Knowing what a song is about, even when fully instrumental, is often a key to better appreciate it.

The key of this album is in track 4: Kemet Orthodoxy. Kemet is the ancient name of Egypt and Kemet Orthodoxy is a neopagan movement founded by an American Egyptologist: Tamara Siuda (she's also a Voodoo priestess).

"The Syrian Singer in the Chamber of the Horus Medjed" is a very ambient track whose production makes it sound "distant" and dreamy. It features some Arabic vocals but they sound distant as well. Medjed is the name of an ancient city in the southern part of Egypt, when the legend says that a fish ate the penis of Osiris (the Oxyrhincus) and in which some fragments of Euclids Elements have been found.

"Lost Magic of Ancient Architecture" has a rhythm which sounds quite "indian" and is unusually melodic for Senmuth. About the title, let's say that Valery is an architect and Senmuth was an Egyptian architect, I think under Cheops.

"Omm Seti" means "Mother of Seti". It's the name which the American Dorothy Eady has given herself after convincing herself of being the reincarnation of an ancient Egypt's priestess and founding the "Abydos Temple of Seti I". This sequence of chords is quite common in the most recent Senmuth's albums, but the distinctive characteristic of this track is its lazy rhythm and the dreamy soundscape, as on the first track.

"Kemetic Orthodoxy" starts with a keyboard layout that may remind to early Tangerine Dream which is quickly overridden by ethnic instruments. The wooden flute's melody is dissonant but this flute has brought to my mind Pink Floyd's More soundtrack.

"Flight Over Waset" is another ambient track with many ethnic indo-arabian influences. Waset is the ancient name of the Egyptian Thebes. Even with all his darkness, the Senmuth's ambient albums can be very relaxing.

" Xr.t hrw" is a transcription from hyerogliph and it's a part of a prayer and offer of food to the God Nefertum. Part of it says: "Your meal is the meal of Seth. You have satsified Horus with his eye." It starts with an edited distorted guitar but with a weird rhythm, then it stops and a guitar solo starts. I think experimental metal is a good way to describe it.

"Meditation in the Red Pyramid: Invoking Horus Neb Maat" is a two minutes dark track made of weird sounds. Very ambient. Horus Neb Maat Snefru means "Horus, Lord of the Cosmological Order" and Snefru is the invoking King.

Mut was the Goddess mother of Thebes: a woman wearing the double crown plus a royal vulture headdress. She's the counterpart of Amon and has two crowns becaus she's bisexual as she's mother of everything, including women.. This is another ambient track but a bit more metal oriented.

"Incessant Stone Pounding" is a reference to the aliens who may have had a part in building pyramids and one of the best tracks in terms of composition.

"Place between Ra and Apep" is an interesting title. The fight between Ra and Apep, the God of Sun and the God of Evil is as in almost all the religions the fight between Good and Evil, so finding a place between them is a curious thing. It's a good track, not much different from the rest of the album and of course in line with his usual stuff.

"Waters of Osiris" is a short heavy track. In this case it goes straight to the nucleus of the idea. A good short act.

"The 12 Hours of the Amduat " can't not be dark. Amduat is literally "What is in the realm of Death", one of the most important funerary books reserved to Pharaohs only. The 12 hours represent the death and resurrection of Osiris as well as the cycle of sunset and sunrise. Senmuth has already dedicated a whole album (one of his best) to this path. Keep this story in mind while listening to it.

I haven't found anything about "Burial Pentimenti". It's a pity because this is the longest album's track even if not the best. I find it a bit boring but it's probably because I'm missing its "hidden meaning". It's a repetitive sequence of percussion and bass with some ethnic sounds coming and going for 8 minutes with an interlude in the middle.

The closer is short, instead. "Khnum Khufu has gone" Khnum is one of the most anciet Egyptian Gods: he represents the sources of Nilus river. and its floodings. One minute and half of ambient low sounds.

In my personal scale it could even be a four stars album but basing on the site's rules I have to stick on three. If you like dark ambient music give it a try.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

 Deep In The Ecumene by SENMUTH album cover Studio Album, 2012
4.00 | 1 ratings

BUY
Deep In The Ecumene
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

— First review of this album —
4 stars After some more metal oriented albums, Senmuth is back to dark ambient with this "Deep In Ecumene". Ecumene is from a Greek word (title of the last track) and is usually intended as the liveable part of Earth. (In greek: to dwell).

The dark ambient includes as usual some ethnic elements. "Lost In Canyon" has a lazy rhythm made by percussion and some sitar-like sounds, but is guitar driven. Next is "Clochan An Aifir" also known as the Giants Causeway. Don't expect anything celtic apart of a sound similar to a harp. It's a good ambient track, not as dark as usual.

Egypt can not be missed, but Nabta Playa is a very impressive place: imagine a Stonehenge placed in the middle of the desert, some 800Km south from Cairo. Egyptian things are usually darker with Senmuth. This is not different. The electronics have some disco influence but this is not unusual with this project. Anyway the guitar seems to be the dominant instrument in this album.

"Corinth Sundown" is a nice title. If you search the web there's a Sundown ranch in Corinth, Texas,but it's not what this track is about. Corinth was one of the most important Greek cities of the classical age, today famous for its channel. The music is stil dark with a slow tempo and a bunch of electronics to support the guitar.

Typical of South and Central America are the "Tepuis", mountains with a flat head. The "Roraima" is in Venezuela. An impressive landscape which opens to three different nations as it's on the border with Brasil and Guyana. Try tomake justice to this slow ambient track, quite repetitive, by watching at photos of this mountain. It's nice as this music is able to transmit the sense of maestosity of the weird and open landscapes. It's a pity that images can't be pasted on reviews.

On the other side of the world, the Naigu stone forest is in China and the ethnic instruments like I think a Japanese Shakuyaky, make it clear. It's a fusion of the usual dark ambient with Oriental sounds.

The last place to visit in in the Indian Ocean, southwest to Yemen. Socotra is part of an archipelagous of four islands and is full of legends. One says that local sorcerers were able to make the whole island invisible. The music is evocative of secret rituals and sorcery and this is the best album's track IMO.

Sitar opens the last track which should summarize the album's subjects. It's the only track which have some of the sudden pitch changes that I dislike most in Senmuth's music, the only one with some metal elements but also with some operatic vocals. It has the ethnic interludes, but all those things are in some way mitigated and the effect is still of a dark ambient track. It deserves some attantion.

I like the ambient side of Senmuth. I'm approaching all his albums sequentially and up to this album I can say that this is his best release of 2012.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

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

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | GeoIP Services by MaxMind | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — the ultimate jazz music virtual community | MetalMusicArchives.com — the ultimate metal music virtual community


Server processing time: 0.59 seconds