Ghsting

**Ghsting is a suspenseful, dark, and genre-defying work by Polish artists Alex Freiheit and Aleksandra Słyż. Like the chilling soundtrack of a contemporary Eastern European horror film, it mixes fiction, poetry, performative gestures, and dense electroacoustic sound architecture set in a fictional, disturbing hotel environment.

Alex Freiheit needs no introduction to Bratislava audiences. As the explosive voice of the duo Siksa, she has spent the past decade transforming the boundaries of the concert into a space for feminist storytelling, radically personal testimony, queer legends, and postmodern fairy tales. In more than 400 concerts across Europe and Asia — from club basements to Unsound, Le Guess Who? and Festival d’Avignon — she has built a reputation as a performer who comes on stage with minimal accompaniment but creates a world that fills the entire space. Slovak audiences know her in full force: as an artist in whom the personal intertwines with the political and the unspoken becomes loudly proclaimed.

In the Ghsting project, Freiheit opens a new, even darker and more cinematic chapter—in a groundbreaking collaboration with renowned composer and sound artist Aleksandra Słyż. Their debut, released on Maple Death Records, takes place in an ominous Eastern European hotel, where Freiheit transforms into an eyeless ghostly creature wandering the corridors. In a bindri and with a bottle of corrosive liquid in his hand, he recounts hidden practices, dirty secrets, and a history full of lies, fabrications, stains, fumes, and torn organs — what happens in hotels when no one is looking. Słyż responds to these stories with equally disturbing sound architecture. In her compositions, she masterfully combines synthetic and acoustic elements, dividing the text into four chapters and creating a dynamic sonic landscape full of microtonal tensions, drones, woodwind instruments, percussive structures, and uncomfortably beautiful synthetic layers. Her music sometimes sounds harmonious, sometimes threatening or eruptive — but always precisely supports Freiheit’s hypnotic monologue.

Ghsting balances on the border between concert, performance, theater, and spoken word. It is a kaleidoscopic spiral of ecstasy and loss, a strange horror poem and an abstract ritual that bears the clear stamp of an artist known to Bratislava — but this time in an even more unexpected, darker form.