Text by CLOT Magazine
Concluding our summer season, we invite you to descend into the audio abyss sculpted by the enigmatic Gosha Savage, the solo project of Małgorzata Sawicz, a visual and electronic artist hailing from Poland. Savage has prepared a very personal mix, which she also defines as one of her most experimental mixes, an audacious plunge into a sonic chasm.
Gosha Savage’s musical sojourn is an electrifying collision of the intensely personal and the unapologetically experimental. Imbued with the mystique of dreams and the ethereal allure of fairies, her sonic odyssey is a rollercoaster of emotions—plunging from the abyss of sadness to the heights of nostalgia.
At the core of Gosha Savage’s sonic landscape lies her fascination with real-time FM synthesis, an art of manipulating frequencies and exploring different timbral possibilities of sounds. This, coupled with her penchant for crafting irregular drum patterns, creates a sonic tapestry that defies conventional genre boundaries. Her musical explorations seamlessly meld elements of post-club aesthetics with the raw intensity of noise while drawing from a diverse array of genres, including trance, ambient, and dungeon synth.
Gosha Savage is currently crafting a new EP and tirelessly honing her live act, promising exciting developments for her ever-growing fanbase.
We are presenting this mixtape in light of Gosha Savage’s live show last June at the Polish Up to Date Festival. The mix is the most experimental and one of her most personal mixes so far. She describes it as a reflection of her Gothic sensibilities and her penchant for constructing and deconstructing emotions through her art. Furthermore, she says, I included incredible tracks from artists I adore. I’m glad I can share this with you and perhaps gain new listeners for them.
Your project, Gosha Savage, explores different timbral possibilities of sounds. Do you find yourself using a particular equipment that helps you translate your ideas?
I’m devoted to my favourite synthesizer – Elektron’s Digitone, but recently, I’ve also been exploring Ableton’s Simpler. I’m in love with the idea of creating your own instruments from samples.
You mention that the core of your work is an exploration of a real-time fm-synthesis; what attracts it to make it central to your practice?
What attracts me the most in my exploration of sound through fm synthesis is the feeling of oneness with music. There’s no room for any other thoughts or activities then, as each real-time evoked sound change takes me on a journey. Moreover, this way, you can discover truly mind-blowing structures and noises.
You have recently performed at the Up to Date Festival. How was your experience there? And how did you plan/envisage your performance?
I feel a huge range of emotions when I think about this year’s Up To Date Festival edition. It’s one of my favourite festivals in Poland, and performing there was my dream come true. I have prepared my favorite fragments of my work so far and I believe I managed to convey what I wanted. Moreover, the presence of both my friends and family made it even more special. My mom jumping in front of the stage is my core memory.
What are your main inspirations for your artistic practice these days? What have you been most excited about recently?
Recently, I have been fascinated with the work of artists such as Aho Ssan, IDKLANG and Claire’s Accessories; the music of each of them greatly inspires me.
Are you planning new releases soon? If so, could we hear more details about it?
For now I’m finishing two tracks for VA releases, both for Polish labels I truly admire. Then, I will collect some moments from my live set and construct new tracks out of it and possibly make the second EP with them.
What is your relationship with technology nowadays? And how do you cope with technology (screen/digital) overload?
“It’s complicated” type of relationship.
