Rajas

When someone who is normally a constant listener to music from the metal genre exposes themselves to other forms of music that is drastically different and removed from metal, the first instinct that person may have is to quickly shrink away from the unfamiliar and often alien sound that assails them. However, the brave and fortunate few who are open to this unexplored realm of reverberations and clamors almost always profit from this experience. Thus, we enter Senmuth; an obscure multi-talented musician from Moscow, Russia.

Now, musically speaking, Rajas is not all that far removed from the genre of metal. What we have here is some very heavy industrial music layered with ethnic sounds and emotions, such as a flute, and a large amount of piano and synthesizers to create an ethnic mood. Rajas is almost entirely instrumental with vocals on only two out of the ten songs, irMaqua, and Saraswaty. Despite the near lack of words, this album never relinquishes your attention when it has that in its grasp. With forceful instrumentation and creative songwriting, Senmuth creates an exceptional atmosphere that is brimming full of energy and enthusiasm. It is obvious that he enjoys composing and playing music in this style.

Hip-hop influences are present in songs such as Final Rite of Dogmatic, and Hiram Bingem. This does nothing to detract from the authority of these songs; in fact, they go very well with the flute and bass, and deliver a dynamic performance upon your ears.
The only things that are negative are that the songs tend to slow down a lot halfway through Rajas. While the slower songs are still commanding of your attention, they are far less enjoyable then the first half.

Favorite Tracks: Ethnic Whole Dynamics, Bemini Roads, and Saraswaty.