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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 | 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
3.55 | 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
3.55 | 4 ratings
Rain Eclipse
2007
3.02 | 5 ratings
Morning Depth of the Sunlight and Emptiness
2007
2.82 | 4 ratings
Ra Dhi
2007
2.62 | 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
3.04 | 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
3.69 | 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
3.22 | 4 ratings
Madinat al-Mayyit
2009
3.00 | 2 ratings
Knigy Voznesenya II
2010
3.02 | 3 ratings
Deathknowledge & Lifeperception
2010
3.03 | 4 ratings
Sekenenra
2010
2.27 | 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
3.55 | 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
3.02 | 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
3.10 | 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
3.09 | 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
4.00 | 1 ratings
111 111 111 x 111 111 111
2013
3.05 | 2 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
4.00 | 1 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
4.08 | 3 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
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
0.00 | 0 ratings
Rosetta Mission
2015
0.00 | 0 ratings
Nakshatra
2015
0.00 | 0 ratings
Ongtupqa
2015
4.00 | 2 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
1.33 | 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

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

SENMUTH Reviews


Showing last 10 reviews only
 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 Team

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 Team

— 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 Team

— 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
4.08 | 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.

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

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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.

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

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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.

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

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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.

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

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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.

 Hagwalah by SENMUTH album cover Studio Album, 2012
3.05 | 2 ratings

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Hagwalah
Senmuth Experimental/Post Metal

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

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.

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

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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.

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

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