Meaty, beaty Polish industrial electronics

Who She?

Polish producer Natalia Zamilska, whose music was all over the popular 2017 video game ‘Ruiner’. She grew up in Katowice in Silesia, Poland’s mining region. Earth-shaking underground detonations punctuated life there, so it’s no wonder she would be drawn to making seismic subterranean electronic music. After she’d gone through a phase playing bass in a heavy metal band, that is. “I still remember that feeling,” she says, “a strange kind of confusion. I was like, ‘Fuck the bass and all this drama, I need to make electronic music!’.”

Why Zamilska?

Her new album, ‘Uncovered’, is the third in a trilogy (‘Untune’ and ‘Undone’ came first). Its series of one-word titles, ‘Message’, ‘Dolls’ ‘Hospital’, ‘Gape’ and so on, builds into a kind of brutalist poem of intensity, reflected in the staccato vocal delivery of the heavy shape-shifting first single from the album, ‘Hollow’. The track’s deep heartbeat kick drum is gradually joined by a glitchy chorus of noises and rhythms before falling apart in a breakdown of digital spurts and crackles.

Tell Us More…

‘Gape’ employs her pure voice across a soundscape of scraping and bouncing, achieved with what sounds like closely recorded prepared guitar. When you find out that, as a child, she used to chop up Dead Can Dance tracks to loop and splice and reverse them, and that she sold her bass guitar to buy a ticket to see Björk after hearing her on the radio, it all falls into place.

‘Uncovered’ is out on download.

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