Interview with Maciek Frett from Frett
Maciek Frett is a figure who requires no introduction within the Industrial scene. As a member of JOB KARMA and the visionary behind the pioneering FRETT project, he’s not only known for organizing the renowned Wroclaw Industrial Festival but also for his contributions to events like Podwodne Wrocław and Rytual. His dedication to promoting high-calibre independent music is undeniable, and above all, he’s a remarkable individual. In this interview, we’ll delve into his upcoming album ‘NOTTWO’, set to be released on October 27, explore his inspirations, discuss the intricacies of organizing a festival, and discover more about his collaborations with fellow artists.
Reflections of Darkness [RoD]: On the 14th of October, I had the incredible opportunity to attend your concert in the ruins of the old city church in Gubin. Your performances often take place in unique locations, and this time, you also showcased material from your upcoming album, ‘NOTTWO’. Could you share your impressions of the event?
Maciek: Indeed, the concert in question unfolded in a stunning and unconventional location - the ruins of an old neo-Gothic church. The fact that its external walls lacked a roof provided a remarkable setting for our performance. Given that it was mid-October and the open night sky was our only cover, we were a bit concerned about the weather. However, everything worked out flawlessly, as the first raindrops only began to fall after we had packed up our instruments. In my prior experience with the band JOB KARMA, we often found ourselves performing in unconventional venues, such as a Gothic cathedral, a municipal heat and power plant hall teeming with employees, theatres, or vacant buildings. Each of these locations carried its unique atmosphere, which melded seamlessly with the music in those fleeting moments. Despite frequently grappling with challenging technical conditions, these are the concerts that linger most vividly in my memory. Nonetheless, performances in traditional music clubs tend to be more predictable.
RoD: The album ‘NOTTWO’ that is to be released on 27th October is undeniably magnetic and dynamic, with a strong emphasis on contrasts. What served as your inspiration this time, and could you provide more insight into the content of the new album? The theme of duality seems to be a prominent motif throughout the album. Could you elaborate on this concept and what it represents in the context of your music? How, in your view, does it differ from your debut album, ‘The World as a Hologram’, which was released in 2020?
Maciek: ‘The World as a Hologram’ is an album where the Old-School Industrial sound converges with the IDM / Techno style, infused with a touch of ambient. This fusion yields a raw palette of analogue tones rooted in industrial-tribal dance rhythms, characterized by a strong presence of noise and ambient elements. In contrast, the new album ‘NOTTWO’ is a conceptual piece that delves into the realm of contrasts and dualisms, both within the compositions and the sonic layers. Musically, ‘NOTTWO’ is more cohesive and carefully crafted, serving as a follow-up to the initial, rhythm-driven album. However, this time, I’ve endeavoured to infuse many of the compositions with a more song-like structure. Thus, the album features analogue retro-futuristic synth melodies, contributing to its unique character.
RoD: Ania Frett contributes her vocals to your project. What inspired you to collaborate and create this project together?
Maciek: Ania has been my wife, my closest friend, and my life partner for nearly 20 years. She is also the first and most important music critic for my work. Sometimes, when I’m in the studio, crafting a new idea, she’ll suddenly burst in, exclaiming, “That’s it! What a fantastic theme! Keep going in this direction...” On the other hand, there are moments that drive me crazy. After many days of toiling on a different concept, she might glance into the studio and say, “What’s this? It’s not working!” Her instincts guide her to identify the standout moments in my songs, convincing me to refine them. On a personal level, I am inherently inclined towards sound experiments, rhythm variations, and sonic imagery. In addition, Ania possesses a distinct, mesmerizing voice that features more prominently on the new album than on the debut. This certainly contributes to the overall “musical” structure of the project.
RoD: You enlisted the help of Van Wonterghem for mastering and Stefan Alt for photographs and artwork. Can you tell us more about your collaboration and why you chose these particular artists to work with?
Maciek: Both of them are exceptional artists, and we had already collaborated on the production of the previous album. Hence, it felt like the natural course to continue this creative journey. Stefan suggested an artwork that drew inspiration from the previous album, ensuring that the covers, when placed side by side, would form a cohesive and continuous visual narrative. His photographs and artistic concept beautifully resonate with my vision. Throughout our collaboration, we often delved into the concept of duality, making the artwork a perfect complement to the music on ‘NOTTWO’. As for Eric, in my opinion, he’s one of the few individuals I would entrust with mastering my music. His unique ability to grasp the subtleties of both analogue and digital music is truly remarkable. His expertise extends to a genre that, without hesitation, I consider him one of the pioneers of.
RoD: Do you have any plans for live shows featuring the new material?
Maciek: Among the currently confirmed concerts, we are particularly excited about our performance in Dresden on October 28 at the magnificent Zentralwerk at Morphonic LAB event. This show will also serve as a release event for our album, set to be released on the very same day. Additionally, mark your calendars for April when we will be taking the stage at the Elektroanschlag festival in Altenburg.
RoD: Looking ahead to the coming weeks, are you all set and ready for the Wroclaw Industrial Festival?
Maciek: Certainly! Preparations for the 22nd edition of WIF are well underway, and everything is progressing smoothly. Once again, both seasoned veterans of industrial sounds and promising newcomers will converge in Wroclaw for four exciting evenings this November. This year’s line-up features 22 bands and artists, including FM EINHEIT, ZERO KAMA, GRIM, PUCE MARY, ORPHX with an old-school set, DEUTSCH NEPAL, THIGHPAULSANDRA, HACKEDEPICCIOTTO, CULT OF YOUTH, and THE RORSCHACH GARDEN. We pride ourselves on the eclectic nature of WIF, showcasing a wide spectrum of genres such as EBM, Noise, Dark Techno, Dark Ambient, Neo Folk, and Avant-garde, alongside traditional old-school industrial sounds. WIF is not just a festival but also a gathering of a vast community of music enthusiasts from around the world who consider the first weekend in November a yearly celebration and an opportunity to connect. I must also mention that this festival has been hosted for over two decades in a remarkable venue - a former church and monastery characterized by Gothic vaults and a unique interior atmosphere. This year, we have three stages, and the Old Monastery itself is nestled in the heart of Wroclaw. I extend a warm invitation to everyone!
RoD: Thank you very much for your time.
Maciek: Thank you also for taking the time to listen and read.
Pictures by Karo Kratochwil and Marcin Wiktorski
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