Dominik Müller – Insidious Innocence

Published by Alessandro Violante on July 14, 2023

insidious-innocenceIn the past we’ve already talked about both Sirio Gry J label Monolith Records and about Dominik Müller label Furanum Records. These two labels have always had a radical and genuine approach towards dark industrial and techno music we have strongly appreciated.

Among the large number of labels currently active, these two labels are some of those who have always promoted uncompromising music far from trends, and the same approach can be found in this new release by Dominik Müller, entitled Insidious Innocence and released on 30th May in cd and digital by Monolith Records. Two years ago, Sirio Gry J released Shreds from the Netherworld with Furanum Records, and today Dominik Müller is released by Sirio Gry J label.

In less than thirty minutes of music, this release, including three new songs plus a remix done by Sirio Gry J himself, expresses at its best the dark, deep and visceral approach of Dominik Müller music. Each song has a different style. In So Easy To Suffer we find deep and obscure dark ambient. In the long and “progressive” New Path, we find a sound and especially a radical approach slightly recalling the best releases released by Ant-Zen during its golden years. However, this should only be considered a slight influence, as the sound we find here is that radical and dark sound which can be found in the whole Monolith Records catalogue, also thanks to the heavy and “clean” mastering done by Ken Karter.

The following song Empty Dolls Behind The Booth, which maybe could sound critical about the current dark techno clubbing trend, is one of the best examples of how dark industrial techno should sound like, with its deep and dark sound. The remix done by Sirio Gry J for So Easy To Suffer transforms the original song giving it the heavy and rhythm-driven approach we’ve already found in his last masterpiece SYNNECROSIS.

In 1927, almost one century ago, Walter Ruttmann directed the movie Berlin: Symphony of a great city. Although the geographical origins of the artist have to be found in the region of Upper Silesia, Insidious Innocence is a release which makes me think about my weekends in Berlin, walking through the suburbs and enjoying its grey sky and its strong and dark atmosphere. Probably, Insidious Innocence can be considered a particularly emblematic release of how so called “rhythmic noise” music could have sounded after the end of Maschinenfest. It doesn’t matter. What’s important is that we still have the chance to listen to this kind of music.

Label: Monolith Records

Rating: 9