Review: Galya Bisengalieva – Polygon

Style: dark ambient, modern classical, electroacoustic, post rock (instrumental)
Recommended for fans of: Steve Reich, Floating Points, Kali Malone, Krzysztof Penderecki, Murcof
Review by: Andy
Country: Kazakhstan/United Kingdom
Release date: 20 October 2023

Sitting outside in the rain listening to Polygon for the first time, a sudden urge to weep surged over me. Even before I knew the harrowing concept about Soviet nuclear testing in Kazakhstan, I could feel the ecological and cultural distress emanating from the gnarled beats and eerie violin of Galya Bisengalieva. When the twisted voices and choirs reared their heads in the background of “Polygon” and “Balapan” as if they’re pleading for escape, I physically shivered; Polygon is simply indispensable electronica/ambient. 

An extremely accomplished musician at this point, Bisengalieva has collaborated with several of the world’s most notable avant-garde and minimalist composers such as Steve Reich, Terry Riley, and Pauline Oliveros, all of whose work can be heard as key influences on Polygon: I believe that Bisengalieva has surpassed them. The pristine landscapes and poetry of “the Polygon” of the Kazakh steppe ooze through the first two tracks with their ambient tranquility. However, even these calm tracks are still cut through with a striking terror in their very essence. The following track “Polygon” is a clear threnody for these natural and cultural wonders obliterated by the four hundred and sixty-five nuclear tests done in the region. Above the incessant, pulsing electronic beat, Bisengalieva’s violin morphs between chords in a sublime drone, equal parts Bruit ≤’s life-affirming post rock and Penderecki’s terrifying, heart-wrenching lament for Hiroshima. My heart aches with each dissonant tension embedded in the layered violins, change of note, slowly morphing iteration of the beat. “Polygon” is a slowly mutating, breathing reminder of what remains after apocalypse—

“Chagan” shows Bisengalieva flexing more of her impressive compositional skills as a pizzicato violin intro is brilliantly transformed into an electroacoustic beat on the spot. The colossal low-end pulses baptize the listener in sound until the vivid “crying-out” of the violins starting at 2:20—these remind me of Golijov’s masterpiece Azul Concerto more than anything else with their vibrant texture and delicate yet overwhelming layering. Her reprisal of the beginning beat after her haunting violin part is both genius and unexpected. The next track, “Balapan,” sounds like an alien writing a melody with its inhuman harmonizing at the start, and the way she consistently morphs her violin melodies into a beat with cheeky electroacoustics is genuinely absurd. The songwriting is top notch for both the modern classical and electronica worlds. Including percussion for the first time in track six of seven is another bold move that pays in dividends. As such, the disorienting rhythm and subtly catchy main melody of “Balapan” leave me replaying sections over and over to elucidate what’s happening more deeply.

As with most electronica, Polygon needs to be played at too loud a volume for comfort to glean all one can from the album because of a substantial low-end emphasis, so unless you’re using perfect audio or else are willing to risk your hearing, you may not feel the music as much as you could; this is a shame because Bisengalieva has composed music which is simultaneously extremely intellectual, eminently corporeal, and resoundingly emotional. Beyond my desire for a more explicitly loud low-end, Polygon sounds absolutely perfect, nary a tone out of position while completely filling up the space in both channels. Played loudly, you really can feel every vibration ring through your body.

Polygon has left me with tears on my cheeks. I’m extraordinarily impressed by Bisengalieva’s abilities to utilize such a minimal palette—mainly violins and synths—and to wring so many creative ideas from it without leaving her established box. Everything feels cohesive and unified, yet every track is brimming with its own identity by virtue of how she manipulates her tools. The aesthetic vision of Polygon is top notch as is her violin playing. Once or twice a year, I find an album I’d never expect to resonate so much in me to really click, and Polygon makes me want to curl up into a ball and meditate in equal measures.

Recommended tracks: Polygon, Chagan, Balapan
You may also like: Osvaldo Golijov, Bruit ≤, Scarcity, Sabled Sun, Raphael Weinroth-Browne
Final verdict: 9/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | Twitter

Label: One Little Independent Records – Bandcamp | Facebook | Official Website

Polygon is:
– Galya Bisengalieva (everything)