Wojciech Rusin: speculative anthropologist

– An immigrant always negotiates his position in some way. There are different strategies: mixing languages, preserving traditional costumes or seeking a place through speculative anthropology. This works at the university and in a gallery, but I believe it can also provoke something outside of them – says musician and composer, Wojciech Rusin.

It seems that Syphon, released by AD93, brought Wojtek Rusin to peoples’ attention the most. An unconventional artist, musician, and composer. He has been active for over a decade, but he is more widely recognised outside of Poland (which is gradually changing), especially in the UK, where he works on a daily basis. His skilful stylistic equilibrium attracts us not only with original musical solutions, but also with a concept that is drawing from a wide range of early music, electronics, everything that is neatly produced, which proves the unusual character of his work. If you are interested, I recommend my introduction to the history of this colourful personality, about whom I wrote three years ago on the occasion of the release of the album The Funnel. And then, you should listen to the latest release of Syphon. I wrote about it on the pages of The Quietus:

Below, you can read our conversation about boundaries blurring, speculativeness, alchemy, theatre music, recording albums, but also about challenging the orders of tradition.

JAKUB KNERA: In Fabruary you released Syphon, a second album under your own name. The first one, The Funnel, came out in 2019, but earlier you had recorded under Katapulto moniker: Animalia cassette on the Sangoplasmo label in 2011 or the Powerflex album on Olde English Spelling Bee in 2015, among others. When did you decide to record under your own name?

WOJCIECH RUSIN: The Katapulto project expired naturally. It was inspired by the German new wave, hysterical experiments with pop – I was testing how far it can be moved towards absurdity, overdrive, fast rhythm and absurd lyrics. I was discovering my voice in it, there were a lot of vocals. I also released an album in this aesthetics as Obsidian Teeth in the Ceramics label in Bristol – it was post-industrial music with beats, no vocals.

Releasing music under my own name was the aftermath of the invitation to Glasgow’s Radiophrenia festival that is dedicated to the art of sound. Its organisers commission a 20–30-minute block to an artist that he or she is asked to develop.