He would collect and later reuse audio from cartoons, monster movies, news bulletins, and countless other sources. Having grown out of the most prolific period in rap music to date, starting roughly in the mid- to late-1980s, he experienced firsthand the sparkling wave of young, intelligent New Yorkers with politics that didn’t overwhelm the soul of party music. Along the way, he seemed to absorb everything around him. Every album breathes with a distinct personality, each a shapeshifting assemblage of personage and programming that sounds more like a kind of miraculous hyperlinked sound collage than rap.Ī London-born recluse himself, Daniel Dumile’s path led him through New York and Atlanta - two rap meccas - from near-homelessness to the shelter of a metal mask.

What unfurled and accumulated in that room - years of sound and light, records of London and what London was watching - that is the only possible analogue to the nightmarish cultural overflow of DOOM’s music. For three years it chirped away, as programming changed and major news broke and Joyce Vincent rotted. But the talk surrounding the story barely hints at its most haunting detail: The television was on.

The film’s press materials and many of its critics posit it as an urban dweller’s caveat - “ Would anyone miss you?” - reminding us of the suffocating isolation possible even in a dense, social capital like London. Police found her skeleton amongst Christmas presents yet to be wrapped. Last year in the U.K., Carol Morley released Dreams Of A Life, a documentary about a woman who died in her North London apartment and was not found for three years.

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