Mondkopf

by juicyfrog

mondkopf2
 
it’s been a while since I wanted to tell you about Mondkopf, but as you may know, it is sometimes difficult to put words on a music that throws you in a wells of apocalyptic beauty and joyful despair. nevertheless, now that the decision has been made to pitchfork Hadès into pole position of our yearly top of the top, it is high time to loosen our tongue.


 
it is demanding to think of a better nickname for Paul Régimbeau aka Mondkopf, precisely because Mondkopf‘s fourth album takes you to the very clouds, to the moon, and more specifically to an atmospheric, hopeless inferno. released in february on Régimbeau’s own label In Paradisum, Hadès is a very dark, woebegone album, a masterpiece of doom inspiration. the opening Hadès I lays Mondkopf’s cards on the table, with trumpets and choirs that seem to foretell the abode of the dead. more frightening is this impression to still have time to resist an implacable apocalypse. a little bit as if you were in The Road by Cormac McCarthy.

 
Hadès unfolds a terrible — but how magnificent — plot. organs are rejoined by bruiser beats to chant the beginning of hostilities (Eternal Dust), shrill vibrations and knuckle-duster beats trumpet the beast agony (Hadès II). disquieting, industrial sounds paired with ethereal laments fade into a mournful requiem that heralds the end of the world (Here Come The Whispers). high-pitched flares send desperate signs (The Stars Are Falling ). this bloody, epic journey comes to a dead end with a sequence of threatening punches, trembling chants, blank machine guns.

without disfiguring the album, the very clubby Cause And Cure and Immolate show evidences of Paul Régimbeau’s techno/house background, which may find a better echo in his first albums and numerous remixes — and also in his new, excellent grindcore side-project under the moniker of Extreme Precautions.

 
if the right of entry to this wide-awake nightmare is immediate and very addictive, the indisputable beauty of Hadès should not be mistaken. despair and doom-laden atmospheres are very inspiring ; they nourish the splendour of life, especially before dusk takes us to the point of no return. so there is no reason to deny ourselves this outstandingly intelligent album, one of the top few of 2014 and our favourite of the year.

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