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Rapoon – My Life As A Ghost / Rhiz


Rapoon - My Life As A GhostHallucinatory and suffused with a sense of being largely abstracted from place and time as it is generally understood to exist, Rapoon‘s My Life as A Ghost seethes with fluctuations in the space-time continuum. Drenched in reverberant FX, the album is in part a product of its era

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Rapoon / Rapoon and Promute – Fall of Drums / Machine River


Rapoon – Fall of DrumsDrenched in reverb and flecked with voices from the Eastern aether, Fall of Drums is Robin Storey‘s third or so new Rapoon album in the space of a year, but the first on Zoharum since To West and Blue in 2013 and various re-issues which the label has put out recently. Over four lengthy, stretched-out tracks, the album sets about creating a hallucinogenic landscape of languorous percussion and the sort of electronic haze which seems almost thick with fragrant smoke and coated with a resinous fug of ages.

This is no polished, sonorous TV-friendly soundtrack-fodder though; the music here is somewhat unlikely to adorn a mainstream documentary on any ancient subject or travelogues from the Western Sahara to Bangladesh (Dead Can Dance and

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Rapoon – To West and Blue


Rapoon - To West And BlueTo West And Blue is the 50th (!!!) album by Rapoon, and it trades in dark ambient’s typical deep space cosmic horror for mudflats and marshlands, making for a superb movie of the mind. The album was inspired, in part, by a part of Britain where Robin Storey, here known as Rapoon and also co-founder of influential industrial terrorists :zoviet-france:, grew up.

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Rapoon – Vernal Crossing Revisited


Rapoon - Vernal Crossing RevisitedThe desert is a place of sunlight and shadows; a place of bedouins and fertile deltas; lazy, muddy rivers and ancient tales. Time stands still beneath the flaming orb of the relentless sun. You feel the need to whisper, despite the whining wind. It is a place of fakir and genie, supplication and purification. This is the realm of Vernal Crossing Revisited.

Vernal Crossing was the third release from ambient ethnomusicologist Robin Storey, under his Rapoon guise, originally released in 1993. Storey had come to notoriety with his involvement from influential industrial outfit :zoviet*france:, before departing in 1992 and launching Rapoon. He was an early and notable contributor to the Soleilmoon and Staalplaat labels, whose esoteric releases would help bring the fields of

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Rapoon – Cold War Drum ‘n’ Bass

Label: Caciocavallo Format: 2CD

Cold War Drum 'n' Bass - sleeve As might be expected, Robin Storey‘s take on drum & bass is somehwat denser than the usual clatter of hyperspeed breaks, rolllllls and rewinds. Instead, the two discs of Cold War Drum ‘n’ Bass are crammed with unfurling meditations in rhythm and texture, linked by the ideas of paranoia and mutually assured destruction of a childhood surrounded by the hardware and attitudes of unfought warfare. Thus the album is suitably tense, with beats trundling in production lines of menace, liberally sprinkled with restrained crackles, undead vocal trills, ghosted reflections of uniformed dances and windswept airbase hoedowns past and curled-up echoes which step slowly at their own shuffling pace.

Two discs of heavyweight reflections on an era that’s not so far away as it seems in the 21st Century’s New World Ordure could become

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Rapoon – What Do You Suppose? (The Alien Question)

Label: Staalplaat Format: CD

What Do You Suppose (The Alien Question) - sleeve detailAt first seemingly a strange departure for Robin Storey in his Rapoon guise, The Alien Question starts out as a series of simple sound loops and harmonium chords accompanying the spoken words of alien ambassador Hoh Krll. The increasingly paranoiac ideas which Krll outlines are of course familiar to almost everyone from Western popular culture’s obsession with all things alien and Grey (or from Betelgeuse, allegedly, or maybe in fact Mars). As the album develops, ethnodelic tracks like “Waddi Haj”, “Give Us Dub” and “Never Called NJ12″ emerge in more familiar style, layering North African/Middle Eastern sound and vocal samples into engaging dubs of camel-riding bass and cycling percussion, with little apparent relation to the visitors in question – though the latter brings back the now-familiar outline of international conspiracies

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