[resdatcom15]: RU/ST:[untitled] , 2014.
This 3″ cdr contains one untitled track that lets you inhale the smog and rust of Zaporizhia, Ukraine.
The cover of the first 15 copies is a fullcolour print with blockprinted logo stenciled on the front panel.
On the second edition the logo is stenciled with spraypaint.
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interview with RU/ST:
RU/ST is a noise project from Zaporozhie, Ukraine.
Because of the new untitled release of RU/ST on resdatcom; we decided to do a short interview to get across some ideas behind the project and the sounds involved.
S- You told me RU/ST is a manifestation of both your surroundings; a city of rusted and broken factories and your thoughts and feelings; ‘ life in ruins and ruins in your head and heart’. Would you say that the way you think about your surroundings influences the way you feel, or would you say it is the other way around?
V: I practically live here my whole life, the city is famous for two things: the Cossack Sich and plants, which are just countless here. When every day you see the empty eye socket factories, ragged veins rusty pipes, inhale the smoke every day, all over, the world here is in rusty-gray colors. RU/ST – the voice of a dying city, which is in agony, until it’s line is flat. Apocalypse came here a long time ago, many peeps did not notice this. Yes, I feel no visible presence of the rusty monster of concrete and glass, he whispers to me, how the track should sound. It is based on radio noise, I think this reflects the essence best.
S- The sounds on the untitled track bring to my mind both the (irregular) structure of rusted surfaces and the process of corrosion itself. One of the sounds you use is radio noise; is there any particular reason for you to use radio as an instrument or sound-source?
V: I like how a detuned radio sounds, some peeps say they have heard voices of dead peeps in white noise. I hear the pulse of the city. It’s the best instrument for making something abrasive and heavy.
S- I was looking at the artwork on your Bandcamp-page; Do you do the artwork yourself? (some are credited Xthon, some not credited) Could you tell me more about it?
V: I started making design in 2007 or 2008 as an amateur, first trying to make artwork for local bands and projects, now I’m the owner of HMF Graphics, I make all digital work (uncredited works on my BC page are mine). Now in HMF Graphics I have two painters; Xthon, whose work I had used for releases and Deathless – her work has not been used before, but we work on new tape cover and CD. Now HMF Graphics can make all types of graphic works, like covers, shirts, logos, etc.
Vital Weekly 945:
RU/ST (3″ CDR by resdatcom)
This is a release from Zaporozhye of a ‘one-man’ noise project. Zaporozhye is in Eastern-Ukraine so we are in dangerously topical geography and politics here. I could find no mention in any of the material of this which is strange as we seem to have more of an overt message here- only one that responds to Zaporozhye’s industrial decline… ‘the voice of a dying city’ an attempt to communicate the economic crisis rather than political, but economics and politics are not different. Pictures across the Dnieper river show factory chimneys and dockyard cranes, signs of heavy industry. The laws of contingency connect the Netherlands with the Ukraine in a tragic way, and a far more feeble coincidence – if it is- Zaporozhye is twinned with Birmingham, my temporary home from where I write looking over the city centre hotels… the only cranes tower cranes constructing new hotels, though there once were many redundant factories, of the collapsed motor trade, a product as much of Thatcher as Red-Robo, to compare the two cities is difficult as I’ve never visited Zaporozhye and street view is yet to get to that part of Europe. My stance on the inability of pure-noise to communicate should not be news! However it does pose a moral problem, for anyone who is bothered to think rather than indulge in hedonist masochism. Pure noise like pure science seems to both ignore the consequences of its activity – to mankind – and devote an a-political energy which given the current situation could be seen as again an immoral stance. Simply put as in Buddhism to philosophize in a burning house is an act of extreme folly. The product of the physics of the early 20th C was more than knowledge, it was Hiroshima and Nagasaki. Not of course that noise theory is at all potent! Of course that’s a lie! What are the crises in humanity but ideas, and that is where politics should be engaged in seeking to communicate at all levels in a two way process without professional politics the morality(s) of the polis. This makes both HN and HNW bad. Though meat is murder it’s not obvious, or is it obvious just what is the ethics regarding shark killing in the sounds ofthousands of dead gods. Well here (at last you might say) is 20 minutes of harsh noise wall industrial static and saw mill sounds…. An abstract wall with absolutely no content other than accompanying texts… My point again… Should then the makers of such incommunicable HNW stop this practice of non-sense and start making music again, death-metal, black-noise…. I don’t think so – so keep the black bags over everyone’s head! As the politics of Musician / Audience is an old model, of leaders and armies. Which is why there cannot be a polis of PE/Industrial- just a minority group on a platform and an audience of head swaying sheep. (jliat)
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