Charming and considerate Storey talks fondly of others, recalling their lives
more readily than his own: artist Kirill Sokolov who escaped from Stalinist
Russia after his family were killed; a Vietnam veteran who befriended Zoviet
France on their U.S. tour, now working for the Peace Corps in Puerto Rico;
Khadija Lourlham, 24 year old Moroccan emigre, whose beautifully delivered folk
songs were processed and deployed previously by Storey; Vicky Bain, music
student and operatic singer, another collaborator whom Storey hopes to utilise
in future live work, to prevent it becoming reduced to "a question of the
basics and principles of analogue machines." In reflection he recognises,
"There was a negative aspect of Zoviet France, spiritually. That was very hard
to shake." This dissatisfaction drew him toward indigenous, native cultures
pursuing a more developed yet incorporeal dimension. An interest visually
evident within the markings of personal iconography which adorn the
hand-crafted artwork of his album sleeves, and the limited edition mono-prints
he produced as a member of the True North arts collective.
As a visual artist Storey believes "You have absolutely no control over how
people see anything," but as an audio artist, "it's so much more direct." With
"constant sounds coming through my head," Storey maintained his involvement
within audio construction. Latterly employed "through the back door" of the
commercial AV industry, he acknowledges "There was no deliberate attempt to
change the music. Just to get away from the conceived connotations of
bleakness." Now recording as Rapoon, Storey works intuitively with what's
immediately to hand and adapts his instincts to encourage the others who
gravitate toward him. Instruments are valued as friends, each with their own
history and ways of communicating those stories. His studio resources amount to
a portable Sony DAT machine, two Tascam 4 track portastudios, a quarter inch
reel to reel, an ordinary hi-fi, an Alesis effects unit and two keyboards, a
Yamaha and a Moog. Littering the room, on every shelf, in every corner there
are instruments: multi shaped tablas, wooden drums, metal drums, pipes, flutes,
didjeridoos, guitars, a newly acquired sitar, many kelimbas of different shapes
and ages. His current recordings are the result as he puts it, "of years of
development" 
and making music is "a process of disassembly and rebuilding."
Rapoon's work is infinitely sublime and infinitely sensuous. Literally
metabolic alchemy, it negotiates the open spaces of sacred history, drawing
upon Indian ragas, Arabic prayer calls and African rhythmic whispers. Curiously
ancient, technically majestic, beautifully entrancing. There are currently four
full length recordings available, with another three awaiting release, and two
currently on DAT. Their practicalities are imbued with love and a deep need to
create and communicate through sound.
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Written by Desmond K.Hill, April 1995 - Copyright Reserved e-mail: des@anubis23.demon.co.uk
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