Videl is another member of the Section XIII·.·COMA roster of black ambient artists alongside Gate To Void, Daina Dieva, Ignis Divine, and offers a similar sort of morbid serenity with their icy death ambience. This hour-long death-ritual journeys through a number of different realms of black ambience, beginning with a minimal soundscape of sparse, massive percussive blasts that thunder through the depths like war-drums echoing out of vast rifts in the earth, or a group of tympani players pounding away inside a deeply buried bunker. After a few minutes of these percussive reverberations, the track transforms into minimal black drift, hushed drones hovering in an immense yawning expanse of pure darkness, these drones seemingly formed out of orchestral sounds that have been stretched and diffused into smears of abyssal thrum. This slowly evolves and grows as it goes on while remaining very spare and subdued, the recording becoming murkier and more obscured by the gloom, and even as it slowly (very slowly) builds in volume, it becomes less defined, like hearing a Lustmord track from beneath a mountain of mattresses, the cavernous black sound muffled to the point where it's this vast ocean of washed-out subterranean rumbling. But then other sounds finally begin to manifest, a low, ghostly moan rising out of the deep, buried beneath the vast tectonic dronescape, joined by another distant slow-motion percussive blast. An eerie malformed melody also begins to appear behind the wall of murk, shifting from abstract abyssal drift into something much more disturbing in tone. Waves of metallic noise start to sweep in, and distant clanking sounds ring through the void, bringing a subtle industrial feel to the second portion of D'Monique. The heads out through more fields of lightless glacial drift that's sparsely populated with vague chanting utterances, slipping into stretches of murky electronic tones and distant roaring maelstroms of gaseous matter, monstrous mutterings wafting up from black charnel pits, ghastly whispers drifting among sulfurous vapors. A clarity comes upon the final third of the album, the sounds becoming less murky, coming into sharper relief as strange flute-like notes appear against far-off foghorn blasts of synth, the sound slowly winding back down into one final expanse of minimal blackened murk.

Highly recommended to enthusiasts of graveyard isolationism and the blackest of black ambient sound; fans of anything else on Section XIII·.·COMA will definitely want to pick this up as well. Released in a hand-numbered edition of 1100 copies in slim dvd style packaging with full color artwork.

D'Monique Velsmord review by Crucial Blast