C O L L A P S E

Hi,

I’m an independent musician from Poland, working within the realm of ambient and its many, often unconventional subgenres. Part of my work is deeply immersed in Norse mythology — the raw, symbolic world of gods, warriors, rituals, and the inevitable Ragnarök. I don’t simply retell myths; I interpret them through sound, trying to capture their weight, mystery, and timeless power. My compositions transport listeners to spaces where time flows differently, and every whisper and echo carries the resonance of ancient tales.

But that’s only one layer of my artistry. Another is a dirty, naturalistic soundscape — direct, raw, and often uncomfortable. I address themes many prefer to avoid, painting pictures people usually look away from, yet secretly can’t stop glancing at.

I step into the shoes of broken, lost characters, teetering on the edge of morality and their own conscience. Sometimes — like Raskolnikov — I carry the thought of crossing a boundary, of destruction that can be both a cry of despair and a search for meaning in a chaotic world. This tension and inner conflict permeate my music, giving it intensity.

You can hear the echo of Dostoevsky in my work — not as a literary quotation, but as a state of mind: grappling with meaninglessness, the tension between the desire to understand and a sense of alienation. This is not music meant to soothe, but to confront what we often don’t say aloud.

Two worlds intersect here: the mythical and timeless, and the corporeal, fractured, and contemporary. Their tension gives my work meaning and depth.

If you find something in these sounds that resonates with you, maybe it’s a sign you hear more than you’re willing to admit.

My worldview has been shaped by works and creators who explore the darkest corners of the human soul. Fyodor Dostoevsky, with Crime and Punishment and Memoirs from the House of the Dead — stories of guilt, conscience, and alienation. Roland Topor, whose The Tenant, Portrait of Suzanne, and Black Cows balance between absurdity and darkness, testing the limits of perception and reality. Albert Camus, with his existential explorations in The Plague and The Stranger — tales of rebellion against absurdity and loneliness. The music of Burzum, whose rawness and primal energy remain a constant source of inspiration. Equally important is the influence of The Cure — their sound and lyrics, often balancing between melancholy and despair, have strongly shaped my perception of music and the world.

I close with a quote that has become my mantra: “It doesn't matter if we all die.” It’s a reminder of life’s transience, the absurdity of existence, and that true value lies in what we create here and now, regardless of how brief this moment may be.

Physical Wash is the industrial solo project of Susan Subtract of High-Functioning Flesh. Maintaining a full hardware setup, Susan melds the rigid body beat and vocal snarl of HFF with grinding industrial melodies and a brooding atmosphere. Originally conceived in 2017 as an techno electro side project to compliment per songwriting in HFF, Physical Wash gradually became Susan’s main focus. Now residing in per hometown of Portland, OR, Susan continues to push per distinct take on industrial and body music. The debut release, Physical Death, is currently available on bandcamp and at live shows

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Electro/Independent/Music

ism is more than music

J.P. Wheeler ## machines, strings & other things

C O L L A P S E

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