Tracklist:
\nA1 Sanctum
\nA2 Iron Path
\nB1 Fallen Gods
\nB2 Breathing Gold
\nC1 Sataranum
\nC2 Sacrement
\nD1 Khomat
\nD2 Dusk Red Walls
\nD3 Valley
\n
\n\u2018Fallen Gods\u2019 is the third studio album by Rapoon aka Robin Storey, formerly of :zoviet*france:. Originally released in 1994, \u2018Fallen Gods\u2019 emerged amid a prolific early period for the Rapoon project, following in the wake of debut album \u2018Dream Circle\u2019 \u2013 originally released in 1992 \u2013 and second outing \u2018Raising Earthly Spirits\u2019, released a year later. Building on the haunting industrial ethers of \u2018Dream Circle\u2019 and the esoteric, rhythmic drone of \u2018Raising Earthly Spirits\u2019, \u2018Fallen Gods\u2019 consolidates many of the sounds and disciplines that had shaped Storey\u2019s work up to this point, while indicating a newfound, concerted focus on classical Indian instrumentation. The results represent a synthesis of myriad ideas, rooted in the duality between modernity and mysticism.
\n
\nThroughout \u2018Fallen Gods\u2019 the reverberant pulse of Tabla-led percussion and the remote tones of what sounds like the Bulbul tarang (aka Indian banjo) resound and repeat in locked instrumental cycles, as vast, atmospheric shadows and echoes are unfurled. On \u2018Sanctum\u2019 Storey creates a mesmeric form of ceremonial indigenous music and with \u2018Iron Path\u2019 combines ramshackle, automotive percussion and distant zither-like emanations. Intensities are heightened with the title track, as Storey delivers a sidereal melee of barrelling drum sequences, gleaming ambient vapours, and stuttering glossolalia. In these opening exchanges, as with much of \u2018Fallen Gods\u2019, archaic modes of musical performance are uniquely reconstructed, as organic elements are subjected to inventive technological processes; primitivism made mechanical.
\n
\nPresenting a pure vista of celestial drone on \u2018Breathing Gold\u2019, the album resumes a hypnotic, scrupulous exploration of perpetual drum cadences, deep modulations of traditional instrumentation and prodigious ripples of spectral, otherworldly resonances on \u2018Sataranum\u2019 and \u2018Sacrement\u2019. Works of infinite circular rhythms. From here the unadorned ancient tones of \u2018Khomat\u2019 and the chasmal nomadic roots music of \u2018Dusk Red Walls\u2019 present a shift in momentum, a sense of pause and suspended reflection, before the ascendant finale of \u2018Valley\u2019, a coda of undulating keys, expansive FX, and condensed surges of sampled percussion. Altogether these compositions form a deeply arresting body of work that is arguably considered one of Storey\u2019s finest works, a record that still sounds both completely original and remarkably timeless.
\n
\nAn enigmatic landmark in Storey\u2019s early solo output, \u2018Fallen Gods\u2019 sees the sound world of the Rapoon project reiterated, expanded and memorably enriched. Across nine tracks Storey weaves together indeterminate, sonorous currents of ambient and experimental electronics with magnetic, sprawling passages of acoustic instrumentation, creating a profound work of entrancing, ritualistic minimalism. Comparisons could be drawn with the panoramic soundscapes of Lustmord, the fourth world ambitions of Jon Hassell, the heavy outernational psychedelia of Psychick Warriors ov Gaia but really \u2018Fallen Gods\u2019 illustrates an artist establishing their own trajectory, a distinct indication that Storey had moved way beyond :zoviet*france:. into the flourishing territories and intricate sound environments of the Rapoon project.
\n
\nLimited edition of 500 copies. Remastered by Colin Potter (Nurse With Wound).<\/p>\n
\n