Few electronic artists have pursued depths as murky as he with such clarity and such a distinct hallmark—Storey the visual artist has created trademark album art of utter distinction and recognizability wrapped around music that is simply sui generis.
[Releases page] Sometimes the footnotes are every bit as interesting as the main body of text. 2012 marked the twentieth anniversary of Rapoon, Robin Storey’s huge, ever-growing, pulsating brainchild that rules from the centre of the dark, quasi-industrial, quasi-organic underworld. Few electronic artists have pursued depths as murky as he with such clarity and such a distinct hallmark—Storey the visual artist has created trademark album art of utter distinction and recognizability wrapped around music that is simply sui generis.
Since debuting in 1992 with Dream Circle (after twelve years as a founding member of Zoviet France), Rapoon has released some fifty full-length albums and seeded the musical solar system with sustainable worlds. Seeds in the Tide has been prepared by Storey and Polish label Zoharum as the first volume in a series aimed at gathering all the rare tracks he has scattered among compilations and small or limited format runs between 1993 and 1999. The first disc is called Keepsakes and Oddities and track by track moves from strength to strength. The second is a reissue of the original 1997 version of his “Messianic Ghosts,” whose tracks differ significantly from subsequent commercial releases. “Messianic Ghosts” is one of Rapoon’s finest achievements and the opportunity to hear it its original version is a gift to long-term fans and newcomers alike.
Sometime later this year, a second volume covering 2000—03 is promised.
Seeds in the Tide: Volume 01 is available on Zoharum. [Releases page]
