Meaty, beaty Polish industrial electronics
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!’.”
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.
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‘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.