- Whether Geoffroy Mugwump likes to admit it or not, Mugwump's back catalogue is one of the more diverse in the current house music field. Disco and deep house—Moodmusic, Endless Flight—have primarily characterised the one-time New Beat forerunners' past decade, while excursions into microhouse and techno—Kompakt, Cocoon—are gradually becoming a regular occurrence.
Raping the World We Left Behind marks a departure from Mugwump's preceding Kompakt outing Fears Inc. It's the duo's third 12-inch for the Cologne powerhouse, and stands as their most adventurous effort on the label to date. The A-side's provocative title seems to promise some kind of dark significance, and the music delivers. A muffled kick and dulled piano loop open the track, and for the next two minutes are accompanied only by intermittent metallic clashes and a slowly rising bassline. It's not until a bit later that the semi-ambience of the looping bass reaches its peak and a snare marks the track's entry to dance floor territory. In composing "Raping the World We Left Behind" the Brussels-based pair have exhibited a kind of restraint that, these days, few producers working in the mid-tempo range can pull off with such finesse. The track is far from another Mugwump peak-time banger, but that was obviously never their intention anyway. The house throwback on the flipside, "E40 Blues" is where you'll find the most dance floor joy here.
A Raping The World We Left Behind
B E40 Blues