But things with Rob Dougan are never simple, because this is when his history literally begins… and immediately ends, at least, to the general public. After all, instead of capitalizing in the 1995 single success, Dougan took seven years to release his first album, the double feature Furious Angels, which received massive acclaim worldwide, upon its release, in 2002. Of course, included in the album was the hugely successful track Clubbed to Death (Kurayamino Variation), which built his global reputation, after introducing him to wider audiences, since he was already familiar to some Great Britain electronica local scenes.
But after the release of Furious Angels, Dougan disappeared again. At least, from the public spotlight. Through sparse interviews that he gave throughout the years, we learn that he started his music career in the early 90’s in the UK, working as a producer, composer and remix artist for another musicians, and this absorbed him for so much, to the point that he was exhaustingly working for others, and doing very little on his own pieces. When Clubbed to Death – most specifically the so-called Kurayamino Variation – (a song for which Dougan composed a lot of different versions) proved itself to be a smash hit, this caught Dougan entirely by surprise, since he didn’t expected the track to become so successful, neither himself to become a celebrity. This success would be further exacerbated by the inclusion of the hit in The Matrix soundtrack.
After these years, on which his work featured in the mainstream more prominently, Dougan literally disappeared from the public eye. In 2006, Dougan apparently mentioned that two albums were in the works, but absolutely nothing materialized. In 2008, rumors spread that Dougan was involved in wine-making, in France, and sporadically, his work as a film composer occasionally emerged, but usually in very obscure and relatively unknown movies.
Finally, after several years of silence, and thirteen years after his debut album, 2015 saw the light with news about Rob Dougan, with the release of the five songs orchestral neoclassical EP The 22nd Sunday in Ordinary Time Sessions. Apparently, way more distant of his past in electronic music than we could have possibly imagined, on the other hand, this change of genre proved not surprising at all to the fans most perfectly aligned with Dugan’s experimental nature, since, at least to the ones who were more deeply familiarized with the core of his work, Rob Dougan was already notorious for his eclecticism, mixing different genres and styles of music.
Given his curious nature, his experimentations and incursions in other kinds of music certainly could strength his creative processes. Who knows? Maybe someday, Rob Dougan will return to electronic music. Nevertheless, being always unpredictable, and having an aversion for the spotlight, it’s hard to tell or to predict what’s going to be Rob Dougan’s next move. If ever there’s the chance to be one.
Well, maybe in another thirteen years, Rob Dougan will present us with another album (a rock album, perhaps?). It’s virtually impossible to know, but certainly, we will have to wait to for a long time, apparently.