Michal 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. Jacaszek has a long history with Unsound Festival and last appeared stateside as part of the festival’s New York debut in 2010. But now with a new home on and American Independent label - Ghostly International and a masterful new long-player titled Glimmer that was released late last year, more than ever America should be ready for the sound of this wonderful Polish artist.