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Offbeat tribalish drum textures are connected to more contemporary rhythmic structures in the 14-minute opener, Rhino Bone, a hypnotizing panorama which shifts a few times, but mostly just churns steadily ahead. Eventual ethno flute appearances presumedly originate from Storey's camp, while I would guess the faux handclaps are from Kiner Atom's. Slurry vocal streams flow in a Crosscurrent, soon to be joined by a rumbling prescence which reveals a continual train-on-the-track clackety-clack rhythm. Big, swirling electron clouds convulse as an intro to Cookies; a pulsing dub riddim enters accompanied by streetwise percussion. Lighter (pretty, even) tones dance shapelessly behind in this incongruous (but not unwelcome) interlude of "music".
Back into areas of enigmatic listening, Blue Under Shadows emits a cloudy trail of phantom vocal drone, backed by a mechanical pulsation.
The sound of Afternoon Rain (6:14) isn't at all what the title might imply; a billowing blanket of unknowable origins is loosely tied together by thumping strings; a more-distinct system of e-syncopation slips in to drum away on autopilot. Traditional dub-style features like drop outs and echoes decorate this second tasty treat from dubland, Cookies on Poon features another Laswellian bass run which undulates amongst sweet island mists. Those shapeless forms surge to the forefront in a hazily psychedlic cloud from which speedier percussion is the only thing to escape.
Persistent drumbeats cut through a gauzey haze as strange vocal patterns are spread over more-robotic incantations of Rhino Stone (16:16). Ethno-strumming rises to the top in a semi-abstract marriage of tribal/tecnhological sounds.
Rapoon is the U.K.'s Robin Storey; Canada's Kinder Atom are Gerald Belanger, Chris Drost and Heike Sillaste. The artists have their own respective homepages at: the official Rapoon website, and the
Kinder Haus.
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