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LP
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R 136LP
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LP version. Her tracks have been played and recommended by Iggy Pop, Mary Anne Hobbs, and Nine Inch Nails. Zamilska, one of the most original artists on the European electronic scene, presents a new album, United Kingdom Of Anxiety. Combining the rawness of techno and the trance-like nature of world music, industrial sound and a fine blend of trip-hop, the Polish producer created a dystopian, post-apocalyptic, fascinating vision of a collapsing world. United Kingdom Of Anxiety begins with a sonic assault. The breaks and powerful bass in "Phantom" awaken from hypnotic slumber, numbness caused by the daily hustle, serve as a reminder that to survive in an unfriendly world, concentration, willpower and perseverance are essential. The much-needed balance and coolness are brought by huskie vocals -- that is Ola Myszor -- an incredibly talented young artist who appears in several tracks on the album. Besides huskie, there are other guests on "UKOA": Natalia Przybysz, who, with a robotic voice, delivers a manifesto of indomitable, proud solitude in "Persist" and Lukasz Pach, the charismatic frontman of the grindcore band Hostia. His growling is heard in the intense, uncompromising "No Gods," which was presented by Iggy Pop on his BBC6 Music radio show. All the tracks on the album were mixed by Haldor Grunberg from Satanic Audio, known, among other things, for his collaboration with the band Behemoth. The sonic spectrum is also filled with anonymous voices: echoes of quarrels, media messages, sounds of war clamor, monologues -- looped, accelerated, manic, psychotic, but also a wistful singing coming from the depths, from afar. The metaphysical horror of Lovecraft on one hand, and the sober, no less gloomy diagnosis of George Orwell on the other, constantly correspond here. This entire album is a story about society as a whole and the contemporary, dystopian world, which is inevitably heading towards war. The track "1984" clearly defines the inspiration for the artist's post-apocalyptic vision. A distorted radio signal, alarm siren and gabba/techno beats driving into the head like nails serve as an expression of the fear and anger born in a world of impending totalitarianism. Zamilska's original vision captivates with its scope and aura of strangeness and creates a refreshing tension. It also inspires admiration for the producer's craftsmanship -- Zamilska controls every detail of this symphony of horror and, like a true artist, transforms violent emotions into a work of art.
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CD
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R 136CD
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Her tracks have been played and recommended by Iggy Pop, Mary Anne Hobbs, and Nine Inch Nails. Zamilska, one of the most original artists on the European electronic scene, presents a new album, United Kingdom Of Anxiety. Combining the rawness of techno and the trance-like nature of world music, industrial sound and a fine blend of trip-hop, the Polish producer created a dystopian, post-apocalyptic, fascinating vision of a collapsing world. United Kingdom Of Anxiety begins with a sonic assault. The breaks and powerful bass in "Phantom" awaken from hypnotic slumber, numbness caused by the daily hustle, serve as a reminder that to survive in an unfriendly world, concentration, willpower and perseverance are essential. The much-needed balance and coolness are brought by huskie vocals -- that is Ola Myszor -- an incredibly talented young artist who appears in several tracks on the album. Besides huskie, there are other guests on "UKOA": Natalia Przybysz, who, with a robotic voice, delivers a manifesto of indomitable, proud solitude in "Persist" and Lukasz Pach, the charismatic frontman of the grindcore band Hostia. His growling is heard in the intense, uncompromising "No Gods," which was presented by Iggy Pop on his BBC6 Music radio show. All the tracks on the album were mixed by Haldor Grunberg from Satanic Audio, known, among other things, for his collaboration with the band Behemoth. The sonic spectrum is also filled with anonymous voices: echoes of quarrels, media messages, sounds of war clamor, monologues -- looped, accelerated, manic, psychotic, but also a wistful singing coming from the depths, from afar. The metaphysical horror of Lovecraft on one hand, and the sober, no less gloomy diagnosis of George Orwell on the other, constantly correspond here. This entire album is a story about society as a whole and the contemporary, dystopian world, which is inevitably heading towards war. The track "1984" clearly defines the inspiration for the artist's post-apocalyptic vision. A distorted radio signal, alarm siren and gabba/techno beats driving into the head like nails serve as an expression of the fear and anger born in a world of impending totalitarianism. Zamilska's original vision captivates with its scope and aura of strangeness and creates a refreshing tension. It also inspires admiration for the producer's craftsmanship -- Zamilska controls every detail of this symphony of horror and, like a true artist, transforms violent emotions into a work of art.
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