Working under the moniker SADFACE, Gregorczyk has built his reputation on music that refuses easy comfort, and *Unsolved: KD–1* represents his most disciplined and devastating work to date. Commissioned as the sonic backbone of the TVN24+ investigative documentary *Who Killed the Railway Worker? The Mystery of the KD–1 Signal Box*, the record does something most true-crime adjacents fail at spectacularly: it refuses to aestheticise suffering into entertainment. This is not the glossy, pulse-quickening synth of your Netflix procedural. This is grief rendered in brass and ice.
The collaboration with documentary cinematographer and editor Andrzej Kuberski proved generative in ways that transcend the usual transactional relationship between image and underscore. Gregorczyk describes being brought in early enough that the raw footage and the nascent compositions could bleed into one another — the music shaping scenes before scenes were locked, scenes shaping sounds before they were finalised. The result is an EP that does not feel bolted onto a film. It feels *of* the same body.
The lead track, *Margaret: Blutspur* — and note the deliberate bilingual rupture of that title, German for "blood trail" pressed against the anglicised Christian name — announces the project's ambitions with startling conviction. An aggressive brass section advances like something barely held back, all suppressed violence and forward momentum, while string arrangements float above it with the particular chill of something already over, already mourned. It is the sound of a night that cannot be undone. The accompanying video, shot through the warped lens of German Expressionism and citing *Nosferatu* and *The Cabinet of Dr. Caligari* as touchstones, understands that horror — true horror, not the manufactured kind — lives in shadow, in oblique geometry, in the shape of a door frame rather than what passes through it.
Gregorczyk understands something that eludes many composers working in the documentary form: that restraint is its own kind of statement. The claustrophobia that defines *Margaret: Blutspur* does not announce itself with jump-scare dynamics or horror-adjacent cliché. It accumulates. It tightens. By the time the track reaches its resolution — if resolution is even the right word for something that refuses to resolve — the listener has been placed, however briefly and however uncomfortably, inside the signal box. Inside a night that happened to a real person, a young woman with a name and a life and a shift that ended in the most terrible way imaginable.
The remaining four tracks sustain this register across five pieces that collectively function less as a traditional EP and more as a chamber suite for an open wound. The palette throughout is spare and deliberate: Gregorczyk is not a composer who mistakes density for depth. Silences do real work here. Negative space becomes a kind of argument. When the music drops away, the absence carries weight — and that weight belongs to Małgorzata Ż.
What separates *Unsolved: KD–1* from the increasingly crowded field of true-crime soundtrack work is precisely this ethical clarity. Gregorczyk never loses sight of the fact that a human being is at the centre of this story — not a mystery, not a puzzle, not a genre exercise. The EP's title itself performs this insistence: *Unsolved* is not a promise of revelation but an acknowledgment of ongoing failure. The perpetrator was never caught. That fact sits at the heart of the record like a splinter that cannot be removed.
Released on all major platforms, Bandcamp, and SoundCloud, *Unsolved: KD–1* arrives as the kind of minor landmark that announces an artist operating at the precise intersection of craft and conscience. Gregorczyk has made a record about a murder that functions, above all, as an act of witness. The signal box at KD–1 has not been forgotten. Neither, now, has she.
*Available now on all major streaming platforms, Bandcamp, and SoundCloud.*