Mondkopf - Rising Doom

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Deviant experimentalist Mondkopf's Rising Doom integrates eerie breakbeat and dubstep with a knot of slender expressionistic vocals and the rudiments of contemporary classicalism. Using the tasto solo technique in the launch of the piece, Day Of Anger commences with a slow and slightly reverberated, unaccompanied piano. Though, following this introduction, the track leads the listener into an abrupt bridge between the classical and industrial-like grime of electronics, appearing as distracting and heavily dissonant.

Paul Régimbeau tends towards the original elements of atmospheric and ethereal electronic music, though with a clear black metal influence on the album's mood and, indeed, title. Moon’s Throat applies the sinister Cyborg ambience which Krautrocker Klaus Schulze composed in 1973, generating something akin to the Berlin school style, as well as forming his own distinctive product.

Though this release is clustered with diversities within each individual composition, as a collective, many resemble each other rather too closely. Régimbeau’s banal supersaw typically dominates the first third of a piece, then suddenly things swing to a sullen, Schoenberg-like male choir, followed by another interval of Mondkopf’s breakbeat-dub fusion. However, When The Gods Fall contrastingly deviates by a miniscule fragment, transitioning from style to style in a crisp tenuto fashion and sliding the bridging sounds that little bit longer.

Mondkopf is not merely a shadowy computer musician; the Toulouse-born artist is an aesthetic live performer, too. It is, indeed, always a plus to be able to execute a composition on a record as well as it is done on stage. The Paris dweller does so with his centrepiece Beyond The Golden Valleys, through swirling pads combined with his take on alternative hip-hop beats and breaks. This form of dissimilar blending shapes the piece.

Régimbeau indirectly pays homage to his predecessors. Components of Manuel Göttsching can be noted in the unveiling of Fossil Lights with the innocuous association of Krautrock choir vocals, glued together by a delicate suffusion of Ashra-esque rhythmic pads. Again, it doesn’t appear to be, as such, a dead-ringer of his inspirers; it portrays itself as a personal development of his preceding works.