Wojciech Rusin
Syphon
Boomkat Product Review:
Polish 3D instrument builder Wojciech Rusin’s 2019 album ‘The Funnel’ is the stuff of legend - an impenetrable but endlessly rewarding album of baroque chamber music, choral acrobatics and skewered electronics that completely baffled everyone with its illogical arrangements - the sort of record that people will prob write books about one day. 2022 saw the release of its followup - Syphon - deploying all of the above, with softer edges.
’Syphon’ is the second in a proposed trilogy of albums and returns us to Rusin’s highly personalised world of inventive tonalities and innovative blends of medieval and baroque classicism with European folk and oodles of imagination. The ten pieces are carefully concise in construction and effortlessly mesmerising in effect, with an emotional tenor that tilts between bucolic, funereal and utopian as Rusin oscillates gorgeous chamber vocals by Eden Girma and Emmy Broughton with a singular palette of bright, lucid field recordings, puckered instrumentation and sculptural electronics that suspend disbelief for the duration.
It’s an album that expands Rusin’s sonic purview to take in timeless songcraft and showcase a real knack for narrative arrangement. The handful of filigree songs are poised between sublime instrumental passages with an oneiric logic, conjuring an unearthly garden of wonders as you drift from the plaintive opener ‘Speculum Veritatis’ to the quizzical choral percolation of ‘Glass Coil’ via lush yet quietly unheimlich elisions of nature sounds and electronics on ’Swedenborg in the forest’ and the cosmic interruptions of ‘Origins of Pleasure’ to the resonant, arcane buzz of organ and bagpipe-like elegiac fanfare in ‘Destroyer of Worlds’ recalling Alex Zhang Hungtai’s end-of-world blasts.
Oooof.
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Boomkat Product Review:
Polish 3D instrument builder Wojciech Rusin’s 2019 album ‘The Funnel’ is the stuff of legend - an impenetrable but endlessly rewarding album of baroque chamber music, choral acrobatics and skewered electronics that completely baffled everyone with its illogical arrangements - the sort of record that people will prob write books about one day. 2022 saw the release of its followup - Syphon - deploying all of the above, with softer edges.
’Syphon’ is the second in a proposed trilogy of albums and returns us to Rusin’s highly personalised world of inventive tonalities and innovative blends of medieval and baroque classicism with European folk and oodles of imagination. The ten pieces are carefully concise in construction and effortlessly mesmerising in effect, with an emotional tenor that tilts between bucolic, funereal and utopian as Rusin oscillates gorgeous chamber vocals by Eden Girma and Emmy Broughton with a singular palette of bright, lucid field recordings, puckered instrumentation and sculptural electronics that suspend disbelief for the duration.
It’s an album that expands Rusin’s sonic purview to take in timeless songcraft and showcase a real knack for narrative arrangement. The handful of filigree songs are poised between sublime instrumental passages with an oneiric logic, conjuring an unearthly garden of wonders as you drift from the plaintive opener ‘Speculum Veritatis’ to the quizzical choral percolation of ‘Glass Coil’ via lush yet quietly unheimlich elisions of nature sounds and electronics on ’Swedenborg in the forest’ and the cosmic interruptions of ‘Origins of Pleasure’ to the resonant, arcane buzz of organ and bagpipe-like elegiac fanfare in ‘Destroyer of Worlds’ recalling Alex Zhang Hungtai’s end-of-world blasts.
Oooof.
Boomkat Product Review:
Polish 3D instrument builder Wojciech Rusin’s 2019 album ‘The Funnel’ is the stuff of legend - an impenetrable but endlessly rewarding album of baroque chamber music, choral acrobatics and skewered electronics that completely baffled everyone with its illogical arrangements - the sort of record that people will prob write books about one day. 2022 saw the release of its followup - Syphon - deploying all of the above, with softer edges.
’Syphon’ is the second in a proposed trilogy of albums and returns us to Rusin’s highly personalised world of inventive tonalities and innovative blends of medieval and baroque classicism with European folk and oodles of imagination. The ten pieces are carefully concise in construction and effortlessly mesmerising in effect, with an emotional tenor that tilts between bucolic, funereal and utopian as Rusin oscillates gorgeous chamber vocals by Eden Girma and Emmy Broughton with a singular palette of bright, lucid field recordings, puckered instrumentation and sculptural electronics that suspend disbelief for the duration.
It’s an album that expands Rusin’s sonic purview to take in timeless songcraft and showcase a real knack for narrative arrangement. The handful of filigree songs are poised between sublime instrumental passages with an oneiric logic, conjuring an unearthly garden of wonders as you drift from the plaintive opener ‘Speculum Veritatis’ to the quizzical choral percolation of ‘Glass Coil’ via lush yet quietly unheimlich elisions of nature sounds and electronics on ’Swedenborg in the forest’ and the cosmic interruptions of ‘Origins of Pleasure’ to the resonant, arcane buzz of organ and bagpipe-like elegiac fanfare in ‘Destroyer of Worlds’ recalling Alex Zhang Hungtai’s end-of-world blasts.
Oooof.
Boomkat Product Review:
Polish 3D instrument builder Wojciech Rusin’s 2019 album ‘The Funnel’ is the stuff of legend - an impenetrable but endlessly rewarding album of baroque chamber music, choral acrobatics and skewered electronics that completely baffled everyone with its illogical arrangements - the sort of record that people will prob write books about one day. 2022 saw the release of its followup - Syphon - deploying all of the above, with softer edges.
’Syphon’ is the second in a proposed trilogy of albums and returns us to Rusin’s highly personalised world of inventive tonalities and innovative blends of medieval and baroque classicism with European folk and oodles of imagination. The ten pieces are carefully concise in construction and effortlessly mesmerising in effect, with an emotional tenor that tilts between bucolic, funereal and utopian as Rusin oscillates gorgeous chamber vocals by Eden Girma and Emmy Broughton with a singular palette of bright, lucid field recordings, puckered instrumentation and sculptural electronics that suspend disbelief for the duration.
It’s an album that expands Rusin’s sonic purview to take in timeless songcraft and showcase a real knack for narrative arrangement. The handful of filigree songs are poised between sublime instrumental passages with an oneiric logic, conjuring an unearthly garden of wonders as you drift from the plaintive opener ‘Speculum Veritatis’ to the quizzical choral percolation of ‘Glass Coil’ via lush yet quietly unheimlich elisions of nature sounds and electronics on ’Swedenborg in the forest’ and the cosmic interruptions of ‘Origins of Pleasure’ to the resonant, arcane buzz of organ and bagpipe-like elegiac fanfare in ‘Destroyer of Worlds’ recalling Alex Zhang Hungtai’s end-of-world blasts.
Oooof.
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Exclusive cassette edition of 150 copies, includes a download of the album dropped to your account.
Boomkat Product Review:
Polish 3D instrument builder Wojciech Rusin’s 2019 album ‘The Funnel’ is the stuff of legend - an impenetrable but endlessly rewarding album of baroque chamber music, choral acrobatics and skewered electronics that completely baffled everyone with its illogical arrangements - the sort of record that people will prob write books about one day. 2022 saw the release of its followup - Syphon - deploying all of the above, with softer edges.
’Syphon’ is the second in a proposed trilogy of albums and returns us to Rusin’s highly personalised world of inventive tonalities and innovative blends of medieval and baroque classicism with European folk and oodles of imagination. The ten pieces are carefully concise in construction and effortlessly mesmerising in effect, with an emotional tenor that tilts between bucolic, funereal and utopian as Rusin oscillates gorgeous chamber vocals by Eden Girma and Emmy Broughton with a singular palette of bright, lucid field recordings, puckered instrumentation and sculptural electronics that suspend disbelief for the duration.
It’s an album that expands Rusin’s sonic purview to take in timeless songcraft and showcase a real knack for narrative arrangement. The handful of filigree songs are poised between sublime instrumental passages with an oneiric logic, conjuring an unearthly garden of wonders as you drift from the plaintive opener ‘Speculum Veritatis’ to the quizzical choral percolation of ‘Glass Coil’ via lush yet quietly unheimlich elisions of nature sounds and electronics on ’Swedenborg in the forest’ and the cosmic interruptions of ‘Origins of Pleasure’ to the resonant, arcane buzz of organ and bagpipe-like elegiac fanfare in ‘Destroyer of Worlds’ recalling Alex Zhang Hungtai’s end-of-world blasts.
Oooof.
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