VELICHYE I TAINSTVO KAVKAZSKIH GOR

'Величие и Таинство Кавказских Гор' (5/10)

Known for his overtly ethnic approach to music and a varied catalogue from his beginnings, Senmuth has since solidified a kind of distinct style for himself that is quite unique, made only familiar and somewhat tired by the amount of albums the man has produced over the last number of years. While the end of 2008 was certainly seeing a gradual return to Senmuth's roots as a metal artist, 'Величие и Таинство Кавказских Гор' is a very clear example that this Russian solo artist will never drop the world music out of his mix, although gradual changes may be made to the sound over time. 'Величие и Таинство Кавказских Гор' makes itself special in this man's discography for the fact that as opposed to the typical Middle-Eastern and Egyptian cultures he usually explores, this album shows a bit of a fresh twist on the ethnic side of things, going into a bit of European-based sounds. The album suffers from being a bit too listless and disengaging, but this new twist on Senmuth's world music adds an extra freshness and flair to this man's music that many albums appear to omit.

A Russian translation of 'Majesty and Mystery of the Caucasian Mountains', many of the songs here do not rely on exotic realms for inspiration, but rather Senmuth's own motherland, Russia. While the music doesn't sound all that dissimilar from the other culturally-inspired albums, there is a bit of European flair here that makes the instrumental music here a bit different than what one might be used to. Most obvious here is the use of the 'accordion', or at least a computer-synthesized emulation of it. The first and last track's accordion's presence make both songs sound like a trip to some Parisian marketplace in their energetic and folky vibe.

The usual suspects are here though, despite the album having a different theme than many other works by this artist. Sitars are heard here, as well as Valery Av's own signature style of guitar lead work, which at times works well, but feels as though it lacks direction. Without a doubt, the highlight track here is the closer 'Древняя Алания', which stands out both in terms of sound aesthetic and composition, making ample use of some interesting new sounds to Senmuth's catalogue. As has been said before, the album is completely instrumental, and while there is a vast variety of sound here, few of the instruments (programmed or otherwise) are all-too convincing, instead sounding like a very dry soundtrack. In terms of composition and songwriting in general, the typically ambient and mildly unsettling form of Senmuth can be heard here, although the fact that many musical ideas are repeated throughout the album to the point of tedious familiar does not bode well for this work.

For a man who seems to have pigeonholed himself finally into one prescribed style, Senmuth always manages to put something a bit different on record with most of his albums, even if it's just in the small details. Not a great album by any standard, but this is surely evidence that Senmuth has no intention of letting down his development as an artist, no matter how gradual it may seem at times.

After a huge number of totally ambient-ethnic albums Senmuth returns to the industrial metal of the debut with the opener of this 'Caucasic' album. This song is the most metal thing that he has released since a dozen of albums and the good thing is that he didn't use his distortion kit so the track is quite good in all its aspects.

It's not the same with track two that's totally inconcludent and leading nowhere. Luckily it's the only track on this album to be so poor.

The rest is average with few highlights, but most of all, it's ambient without these strong ethnic elements brought into Senmuth's music by sitar and arabic/indian instruments.

Speaking of highlights, track #5 and #6 feature classical guitar and as usual this is what Senmuth plays better, IMO. It's like guitar acts as a constraint so he has to write consistent music without the annoying and meaningless changes of pitch which sometimes affect his music. Track 6 features mandolins and harmonica (synth or true, who knows?) and this gives it a more "Mediterranean" touch.

Track 9 is close to krautrock. I think to Amon Duul II. It's the most dreamy and hypnotic track of the album. It's a travel by horse or donkey in the high mountains. I hope that sooner or later Senmuth will release a full album of this level.

Track 10 starts as it was Edgar Froese. It's repetitive and made of square waves like the TD of Ricochet. The distorted guitar makes the difference by adding that touch of darkness that can't be missed from a Senmuth's album. This is also the only track which features indian instruments and unfortunately they don't fit too well here.

On the closer we can hear, I think for the first time in a Senmuth's album, an accordion. I think it's synthetic. This track closes the circle. Alanya, a province of Turkey, is in the track titles of the opener, too and even if not very heavy it has a metal flavor.

An average album with some good moments and some weak.