Substrata 1.3 – Jacaszek

Substrata 1.3 - Jacaszek

Michał Jacaszek talks about his music in a very self-assured way. He lists clear moods, behaviors, and feelings (nostalgia, misery, classical music, and contemporary ambient electronic artists such as Tim Hecker) that influence the way he works. This is noteworthy for two reasons—first, because the Polish artist is explaining all of this very clearly in English, and second because the subsuming, amorphous pastiches of noise, samples, and tones he is known for aren’t easily put into words, let alone a second language.

Jacaszek’s work is a melange of classical instrumentation—harpsichords, woodwinds, strings—and blurring, rubbed-down electronic textures, all of which makes listening an intensely cathartic, exploratory experience. This is, more than anything else, music as a mind and body exploration.

“All my artistic activity is based on the intuition that there is a hidden reality existing behind or beside the material world,” he says. “And on a big desire to touch it, show it, [and] feel it.” Whatever your opinions are of the supernatural, the utter heaviness of his stuff is palpable.

And if it’s all a tad too pretentious for you, then just don’t think about it that way. High-minded music doesn’t have to be consumed high-mindedly. You can just as easily listen to Jacaszek’s overtures and feel that they’re simply gorgeous, because they are. But with a new home on Ghostly and a masterful new long-player titled ‘Glimmer” under his belt, you should just go ahead and dip into the strangely beautiful world of Michał Jacaszek.

For his Seattle debut performance, Jacaszek will be augmented live with Seattle-based musicians Kelly Wyse on the harpsichord and Beth Fleenor on the clarinet.

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