EXPANDING ARCHITECTURE

'Expanding Architecture' - Senmuth (6/10)

As an ambient work released by the Russian experimental project Senmuth during the latter half of 2010, it could be quite easy for Senmuth's dive into space-age atmosphere 'Expanding Architecture' to go virtually unnoticed, especially during a year when the ridiculously prolific artist released more albums than there are months to write them with. However, while this subtle voyage through space is still relatively mundane when compared to more energetic, structured music, Senmuth does give a different vibe and atmosphere here than with the majority of his work, which tarries primarily with earthly, ancient matters.

In terms of structure and composition, the majority of the music here shows Senmuth at some of his most loose, obviously putting more of an attention on soundscapes and textures over a more traditional musical narrative. However, songs like the somewhat driven 'Nebula Canvas' break the spacey soundscapes with a bit more of a conventional Senmuth jam. However, while much of this music does feel improvised and a bit too scattered to provide a truly memorable experience, there is a surprising amount of detail to listen for, although many of these small flourishes are nearly impossible to detect until the second or third listen.

Possibly 'Expanding Architecture's biggest strength over many of the lesser works is it's proper use of sound. While many of the instruments used in Senmuth's work are just computer synthesizers meant to sound like any number of exotic instruments, the music here sounds quite a bit more professional, in no small part to due to the fact that the subject matter this time around revolves almost entirely around the cosmos. Without having to concentrate too much on a 'folk' sound, Senmuth is able to use electronics more properly without sounding tacky, and it generally works quite well here.

The music here is reminiscent of Vangelis' 'Blade Runner' soundtrack, or even of some of the more soundscape-oriented ambient tracks from the film '2001: A Space Odyssey'. With that in mind, someone looking for a somewhat cinematic experience will find solace in 'Expanding Architecture', although for all intents and purposes, the album still remains firmly in the category of background music.

Expanding Architecture is clearly related to the architecture of the Universe ruled by the lambda constant. It's not the first time that Senmuth explores the deep space looking for signals, however this time there's surely less esotherism and a bit more of science even though I'd like to know what the sequences of characters on the back cover mean. Very often there are hidden messages on Senmuth's sleeves.

This album is one of the dark-ambient based. There is more space than sitar even if the ethnic element is present here, too.

"Quantaeon" is an intro and "Eternaeon" closes the album giving the idea of a concept. Of course speaking of concepts on instrumental albums can be done just basing on the track titles and on their common or recurring elements. "Quantaeon" is probably a joke between "Pantheon" and "Quantum", so the Quantum as primeval force of the creation. Musically it's just a spacey intro with something like a harp playing slow notes over a carpet made of a minor chord and some little noises in the background. Quite dark.

"Nebula Canvas" is an electronic track on a Tangerine Dream's style with a chill-out tempo and a good guitar riff. The sound of the guitar is one of the Senmuth's trademarks together with the pauses that this time are not filled by ethnic percussions.

"PSR J1614-2230" is a binary stellar system composed of a Pulsar, a neutron star with a period of 3 milliseconds and a white dwarf. The bass behind the electronic soundscape is probably representing the pulse, While the previous track was reminding of the TD of the late 70s, this one is closer to the TD pink period. For fans of progressive electronic.

Not only the pulsars send signals. we receive also "Messages from the Oort Cloud" that's the area at the borders of the solar system where the comets come from. Unusually melodic but still in the Senmuth's standard soundscapes. It's like I have already heard it on another album, but this is the 73th review of Senmuth that I write and I can be wrong.

Back to the space darkness with "Time-Distorted Light". This is another electronic effort made of minor chords with some noises and traces of melody brought in by few piano notes. Even when some percussions are added it remains mainly a chill-out track.

"Limit of Chandrasekar" is the estimated amopunt of mass that a star must have in order to collapse into a black hole. If I'm not wrong it should be about 3.2 solar masses. It's the darkest track of the album. Perfect if you are in the right mood for it.

What remains of a supernova after its explosion is called "Supernova Remnant". This track starts very calm and sad until the percussions bring in a bit of chill-out rhythm. This track sounds like an elegy. The funeral of a star.

The "Ergosphere" is the region around a black hole that's coincident with the Event Horizon unless the black hole is rotating so that at the equator is larger. It'sthe area inside which every thing that is captured by gravity can't escape unless it has the right angular moment. What's the connection that this track has with all this physics? I don't know. It's a dark very good spacey drone.

"(Those) Born For the Death Of Stars" has a proper melody and is a very good follow-up to the previous track. It could have been an excellent closer if it wasn't for "Eternaeon" that's just a bit more than 1 minute of spacey sound, quite psychedelic.

Who looks to Senmuth expecting to hear Industrial Metal would be disappointed. For me albums like this are totally in my pot, and this is a very good one.