EVOLUTION: EXODUS

While there is no argument that Senmuth is indeed a metal-related artist, he is much more than that. The man behind this project refuses to adhere to any single prescribed genre; he instead chooses to also delve into a number of softer styles to give some variety to his vast musical output. 'Evolution: Exodus' is one such album that instead goes for a more mellow approach to Senmuth's brand of exotic music. Clocking in at seventy three minutes, this is certainly one of the longer albums of the discography; it is far from being the most challenging, however. Focusing on long winded and atmospheric passages over conventional structure, 'Evolution' may bore some listeners looking for more eventful music, but for what it is, the album is relatively effective.

Upon first spying the track listing (with all but one song topping the ten minute mark), many listeners (including myself, admittedly) may expect 'Evolution: Exodus' to be a dazzling stream of 'epic' compositions; filled to the brim with dynamic, energy, and a thirst for innovation. While this preconception turned out to be far from the truth, the album does suceed at being a potent ambient journey. Each of the album's six tracks are made long due to repetition of musical ideas. Each composition generally revolves around two or three main ideas, throwing in a refreshing variation once in a while to spark a bit of interest along the way. While this may seem like a recipe for disaster, the music's unchanging vibe makes it a great vessel for relaxation and deep reflection.

While being a 'meditation' album for all intents and purposes, it is surprising how dark the tone can get. While there are certainly lighter moments emotionally, there is an exotic and unsettling feel brought on by many of the ethnic instruments Senmuth uses. Drawing upon a mixture of Middle and Far Eastern instruments on top of typical guitar and percussion, he makes use of these exotic sounds to create music that makes 'Evolution' often as haunting as it is soothing. While it is true that most of the instruments used on Senmuth recordings are synthesized and artificial, Senmuth has polished his use of the software to the point where most 'instruments' in his music sound more or less genuine. 'Evolution: Exodus' is a very well executed piece of music, but the ambient nature of the work will turn off some from enjoying it. However, someone looking for a period of reflection and sonic meditation might find that this album comes in handy.

"The Rivers of Stars & Black Chasm" is an electronic melodic piece very close to Vangelis, specially in the rhythm. There are some less harmonic passages that are typical of Senmuth. Without them I wouldn't probably be able to recognize him. This is not a bad thing. The album title is about evolution, and Senmuth's music is evolving even if this album represents a broken branch in his musical evolution. However this is a very good track between new age and progressive electronic whose length appears to be appropriate.

"Emptiness of Nun's Chaotic Waters" starts with a windy background, a bass keyboard's chord and semi-acoustic guitars. An excursion in the krautrock realm. I can't believe that I started exploring a metal-related artist and I have finished to discover one very close to my tastes. This track reminds to the darkest works of Vangelis or some early Tangerine Dream, but travelling the inner space instead of the outer. For the whole duration of the track it seems that something is about to happen, but it don't. One of the darkest moments of Senmuth.

"Life is Road: Comprehension of Secrets" is totally different: the rhythmic base is provided by a keyboard and electronic drumming in an Alan Parson's vein, but the musical passages are those usual for Senmuth. After one minute this is evolved into something that can be found on many other of his albums, however it's good music.

"Meditation Of Atlantis" has a title that makes me think to Eloy's Ocean. The dark bass note similar to that on "Emptiness....." has effectively some contact points, also when the introduction finishes and it turns to electronic. Now it's more close to Ricochet or Stratosphear. Progressive electronic.

"Exodus of 13-th Baktun" returns to the ethnic side of Senmuth. The rhythmic base is still electronic "a la Kraftwerk" but the sounds and the melody are the usual commistion of Egypt, Arabia and India. Maybe it's a bit too long.

"Bardo Thodol Level's" Is similar to the previous track: a slow tempo with an ethnic flavour. This is probably the darkest track. There are at least three different sections, but the main theme is very repetitive so one enjoys the variations over the repetitions.

This album is a night spent in a wizard's hall. A sabbath more than a mantra. I would have rated 4 stars the first half of the album, but the second half is not at the same level (or just too different in the mood) so I downgrade it to 3+.