SENMUTH. The name of a apparently self-taught musician hailing from the vast Russia. The immense potential that this person emits is only surpassed by the gigantic outlet of musical ideas he's put out since 2004 with his debut "Cognitive Discord". This man has put up over fifty releases in five years and the strange part is that he's not even done. Many could argue that while having no teachers, no manuals and no musical education whatsoever, one could impossibly produce such great numbers of ideas after ideas and also incorporate a concept into each and every one. He takes no charge for listening to his music, but will when asked for a hard copy (which is understandable). Here we have one of those artists that creates music for the sake of it being music and not for any kind of commercial success. A rare breed of modern times.
After digging through his discography and investing endless hours into listening to his outlets thoroughly, there still are a lot to go, the target for today being the rather strange and different "Morning Depth Of The Sunlight And The Emptiness Inside Reason", which has a nice tone to it, and as described by the musician, should be an experiment and at the same time approach to another genre or style of music, namely acoustic atmospheric music, which he manages quite well, while at the same time, treading a very bumpy road. The start of experimentation always brings a certain risk with it, mostly because change in sound also means change in habit and an increase in the energy you have to invest in order to create something that lives up to the same name and glory as past achievements. SENMUTH captures the emotional moments in his life quite reasonably, stating that he can not spend too much time on one project or idea or he loses his interest. Well, while that certainly does not appeal to many musicians, I can fully understand and respect that, yet sometimes it can be quite effective to invest a little more effort into polishing something rather than massively overflowing the scene with album after album, especially today, where you have an incredible amount of shite flooding almost every corner in each and every artistic development.
After a smooth start on "Eclipse Of The Black Sun" that features tribal percussion sounds and a swinging acoustic guitar, the album presents itself as the gentle 33 minutes that it will be. One could draw parallels to various acoustic works, since this album is by no means anything revolutionary in any way imaginable, revolutionary in global terms, but quite new for the artist himself. The value of this album can be viewed upon as a variable that alters from each viewpoint, its zenith however being in the eyes of the creator. After three spins in a row, this album gets better and better, but only on a basis of relaxation and semi-devotion to the music. The song compositions are rather generic and follow a basic formula of building up the atmosphere by constant progression of the music. An idea is picked out then developed into various shapes of the original, again nothing too experimental or new here (apart from the dutar, which is rarely heard in this niche), only from the artists' point of view. The nice blend of acoustic and distorted guitars with a little electronic rendering here and there creates a friendly atmosphere which is too inoffensive. There is something happening here, something that floats about, but is not really ascertainable. That is also the problem with this album, it has no direction, but tries to spread nonetheless. Some parts are also too mild and gentle, making it very difficult to correspond to any sort of (majestic) superiority that makes it worthwhile. Nevertheless "Morning Depth Of The Sunlight And The Emptiness Inside Reason" is one of those dust particles inside a gas of everspreading matter that can be observed in sallow sunlight, dancing its way into the bleak nothingness. The fader "Morning Swallow" is at the same time the peak of the LP, concluding the album beautifully and was the reason I gave it another chance after it bored me to death the first time. After another two spins its unique atmosphere caught me. You have been warned. In conclusion: an unoffensive relaxing album that creates nothing new, yet manages itself well as a decent work of art.
(Online March 22, 2010)