PAS MUSIQUE / RAPOON Knowledge Has No Enemies But The Ignorant
Released in September 2025 last year by Polish label Zoharum – this new collaborative album by Rapoon and Pas Musique hits the right notes on many levels and it feels like it has been long overdue.
Released as a double cd – it contains 13 tracks that show the wide scope of mutual interests and approaches that both of the projects share with each other.
If you feel like reading the music before hearing it by judging it via labels they can be put under – feel free to make an assumptions: post-industrial ambience mixed with tribalistic elements soaked in a psychedelic aura.
But if you want to get deeper – go by the traces that each of the tracks embodies. And there is plenty of this individuality happening here.
First track – Blending Apricots has this highly powered introduction that you can almost immediately assign to a cinematic drama soundtrack that is being almost immediately levelled up by some dreamy and haunting tones in the theme that is brought together with some distorted evocations that sound like a trip into the past of 90’s experimental music – in the most positive way. The whole track develops into something more dreamy and hypnotically rhythmical but not to the point of something cliché and predictable.
Second track – Wastebasket Blues – continues in a more or less similar cinematic-minded manner. Starting off with a haunted ballroom theme confronted with tribalistic beat that sets the whole tone of the track.
Third track – Counting Tulips – would be a sure shot mystical soundtrack composition which has so much to do with some Herzogian archetype of romanticism – so beautifully developed by Popol Vuh – but here it gets pretty glitchy and experimental.
Fourth track – Just when you thought quite instantly reminded me of some interzonal trip that Burrough’s Dr Benway could take you between the lines of the lexical context into the centre of the meaning. A contextual and intertextual psychedelic trip – abstract, bizarre and built on harmonizing beats.
Fifth track – Unsuspecting Angel has this fragility about it that can be expressed through minimalistic repetitive process in terms of composition and a bit of emotionally-charged and heightened theme that sounds like slowed-down sermon. Again with a subtle beat in the background which settles the whole bill.
Sixth track – Lost in my closet – perfectly haunted and abstract with a more piercing rhythmical structure that has the feel of something out worldly and developing slowly – again – something very cinematic.
The whole album is perfectly and scintillatingly designed to lean on when you want to withdraw your senses and rest them in a zone of unlikely equilibrium that is not just some sort of meditation but rather a reach out for a seriously impossible inward trip. Inspiring and hallucinogenic at the same time. I hope they will try and get together again to record something so stunning.
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