CD, Ant-Zen, 2011
“Doème” marks a directional shift for Lingouf that has been approaching for some time. Since Vincent Ingouf’s performance at Maschinenfest 2010, where opera-infused, gabber-style beats pummeled the audience, the impression lingered that some further hybridization of harsh electronics with orchestral instruments would be in the pipeline. Although, broadly speaking, this juxtaposition is not new for the genre – Lingouf’s established rapport with Ark-Aïk label mate Ybrid undoubtedly plays a role, likewise inspiration from Venetian Snares, and parallels can be drawn with Igorrr – here Lingouf gives it a distinctive personal stamp. While not completely departing from its hardcore techno roots, “Doème” nevertheless spins an elaborate web of broken IDM beats, splintered jazz and classical influences.
Most remarkable about Lingouf’s style, and a trademark of the mercurial sounds that comprise this release, is the constant shifting from one thing to the next. As an album, “Doème” sees many transitions, and within the individual compositions frequent metamorphoses occur. In fact, it is rather difficult to recall how any track began once the end is achieved, “Pierroopoflonspaà So’çapem” being a good example. Starting off with warbling small sounds and slow crunching beats, its many evolutions bring stuttering, screaming horns, gabber pounding, bubbling notes and sweeping atmospheres. The point, it seems, is to listen to these tracks from front to back, skipping enjoyment (or comprehension, even) of the totality in favor of experiencing the journey itself.
Snare cadences feature prominently, shrill violin twitters and flourishes are widespread, and alternatively dense and sparse passages are paired for maximum effect. From often quiet beginnings, the compositions see beats drop in gradually, compounding rhythms that build in intensity together with the complexity of layered sounds, sometimes becoming such massive, juddering walls of gabber-fueled force as to threaten to come unraveled completely. Yet that never quite happens. The chaos resides, spaces open and the warped chamber orchestra or shredded brass section returns to a normal semblance of itself.
Brief snapshots of beauty are found in glittering interludes and light, fluttering curtains of notes (“Wiaoz”), even while elsewhere a mild sense of unease grows into complex paranoia (“Rovo Dot Oftog” and “Oepema”) and white-knuckle, raucous churning counters acid lines and bouncy loops (“Osmei”). The fast-building layers of the title track become unrelenting as twisted orchestral loops spin round and round in a mad carnival of disorienting sound. All of this underscores the fact that “Doème” is a convoluted and challenging release that will keep its audience guessing. Not for the casual listener, it demands a critical ear and close scrutiny, though stands up admirably on both counts.
— Dutton Hauhart