KEMET HIGH TECH. PART II: HISTORY ILLUSIONS

'Kemet High Tech (Part II: History Illusions)' - Senmuth (5/10)

To mark the release of his 50th album under his Senmuth project, multi-instrumentalist Valery Av set off to compose and produce another two-part album cycle, the likes of which had not been seen since he came out with the 'Oracle Octave' pair a few years before. As the second part of the 'Kemet High Tech' duology, 'History Illusions' follows the first's theme, diving right into the ancient mysteries of Egyptian civilization. Based on a trip Valery took there, his surroundings intrigued and ultimately inspired him to compose this ambitious project. However, while 'Artefacts' (the first half) set a very strong precedent as one of Senmuth's best, 'History Illusions' sadly does not manage to meet my expectations. While being a fairly decent Senmuth album, this album lacks the variety and engaging vibe that made the first half of 'Kemet High Tech' so interesting.

The issue here that makes it weaker than the first is simply the lack of diversity and compositional tightness. The production values are still here to most extent, but as for the actual composition of the music, it feels as if Senmuth opted to put his best effort into the first installment of this double album project. With the exception of the most interesting and memorable track 'Denderah Hypostyle' (which is based around a jazzy bass groove), the music here falls deeply within the realm of ambient music. While the mixture of styles that was seen on 'Artefacts' is still here, there is less dynamic, and less of an intentional flow and ebb of the music.

As always, the music here is surprisingly well executed considering how complex the mixture of ethnic instrumentation and computer samples is. Although Senmuth is indeed a very talented artist, he has unfortunately repeated the mistake he made with the 'Oracle Octave' duology; a very strong first half, with a mediocre second.

This album is opened by ethnic percussions lwhich initially made me think to Vangelis and his "La Fete Sauvage", but this is Senmuth, and even if this short track is not dark as usual, his way to use electronics is very different. The ethnic flavor is replaced by more "modern" trechno sounds. A good start.

The following "Serapeum Sarcofagus" is very noisy to be a place of eternal resting. It's like a return to the industrial metal of the debuts but less chaotic. The second half of the track is more melodic. An averagely good track in Senmuth's "old" style.

The theme is reprised by the guitar on "Apis Cult Necropol". It's a good track on which there are not the disturbing useless changes of pitch that sometimes affect Senmuth's tracks. The interlude of percussions with the sound of the wind likely produced by the distortion lead to an ethnic closure of the track but the impression is that all the songs were recorded in one shot and Valery has cut them into different tracks later.

"Ra-Horakty Orion Complex" sounds more Indian than Egyptian. Not bad at all, specially if considered as a part of the one-whole thing that this album seems to be.

"Hufu Inventory Stele" has an unusual rhythm. It's very particular. I consider it a highlight.

"karnak Ruins" starts far from the metal sounds of the previous track. It belongs more to the ethnic side of Senmuth but the distortion kit in the background makes it change suddenly. At the end we have a good track with a nice bass line and a good melody (when present). A consistent composition.

"Kenotaph of Gods" is another song very particular. It starts "industrial" and changes several times. A melodic line is not easy to find but when present it's good enough.

"Denderah Hypostyle" is of a kind that I personally don't like much, however the heavy distortion mixed with sitar and other Indian instruments makes it particular even for Senmuth. The metal interludes which start after 2:20 minutes are quite interesting.

"Osiris Abidos Tomb" is one of the few tracks on which the guitar is in the foreground. However it's my less favorite track in this album.

"Illusions Of Reality and History Artifacts" is one of the best tracks of the album, instead. One of the few that can be fully enjoyed alone.

"Cantera de Aswan" is finally Metal. Senmuth remembers his roots and places here something that sounds very dark and powerful, even with some of the usual stop-and-go's.

"Kemet Sunset and Sounds" is eclectic. It starts very atmospheric, able to give the idea of a sunset in a desertic land, then it's like the night comes. It's like a weird ritual. In the middle of the track it drastically changes to the realms of the previous tracks and a good guitar part around 3:30 minutes.

This second part of Hemet is a bit tdifferent from the first but contains some very good moments. 3.5 stars rounded up because of Kemet first. Taken together they are really good.

One of the Senmuth's album that can potentially work for who is not inside this artist.