Wiktor Fejkiel: How did the idea to create the Ars Latrans Orchestra come about?
Piotr Wychrz (waterbody): – We wanted our interdisciplinary art festival to include a project that would make us stand out. This is where the idea of the Orchestra was born. Many of my friends from around Krakow were willing to do crazy projects. We combined our powers. It was such a flashpoint that the first line-up of the Ars Latrans Orchestra was formed. The second equally important issue for me was that I missed the times when we could meet in Krakow somewhere in a room and play together. The orchestra was created with my great friends, so we had the opportunity to play on one stage and spend time together. These two elements contributed to the creation of our Orchestra.
Do you think that in a few years this type of projects in pop music will be more popular? In rap, for example, Hotel Maffija or Club 2020 appear, while in pop there is nothing…
PM: – I think not, because it is too expensive and too difficult to deal with. People don't find it profitable and they wouldn't want to do this type of thing. Theoretically, there is Męskie Granie, which creates something similar, with the difference that it is a completely commercial project, where artists create songs dictated by a large beer company. We are trying to create a concept album here, so there are no such projects. Maybe there is something like that in the rap community, but I don't know if anyone in pop would undertake such a task.
Antoni Olech (Tony Yoru): – But, in rap, it's the labels that deal with it, and Ars Latrans is simply an association. We are independent artists who never really knew each other before. That is, exactly the opposite of the above-mentioned Hotel Maffija.
PM: – Of course, I am in favor of creating as many of these projects as possible, because it gives artists the opportunity to participate in more cool things. But as I say, it is quite demanding and you need to devote a lot of time to it. Actually, when I think about it, I change my mind. Let's not create such projects and let's just be us and grow stronger (laughter).
The headquarters of the Ars Latrans association is in Kraków, where the first festivals and projects were created. This year you are also organizing the festival in Krakow. So do you plan to stay here forever?
PM: – Krakow is already our headquarters, unfortunately only on paper. Many people associated with Ars Latrans who started in Krakow have moved – including me. We only work on projects remotely. However, Krakow remains our heart, where it all began. For this reason, the premiere concert will take place here, although two weeks later we will play in Wrocław and Warsaw. We are already trying to look at this project from the perspective of the entire country. I cannot deny that Warsaw gives us more opportunities. In Krakow, after six years, we gather the same audience as in the capital at our first concerts. It speaks for itself. Who knows what it will look like in the future. The important thing is that we started with the Orchestra in Krakow, I lived there, I knew people there and we wanted to do it together. Now most of the Orchestra's members are from Wrocław and I am glad that this is changing, because that is what this project is about. The more diverse it is, the more interesting it is and the more inspiration you can draw from each other. That's what it's all about. The project is not just about creating an album, but also about getting to know each other and opening up to other connections.
How did the idea for this year's theme to be “Noir” come about?
PM: – The topic is chosen each year by the members of the association, to which I also belong. We meet in one space and discuss projects that may be created around the festival. Our last meetings were quite long. There were four of them, each lasting about 2-3 hours. We sat and brainstormed ideas. We weren't really sure what the topic should be. Basically, 15 minutes before the end of the last match, Karolina Kossakowska said “noir”. Everyone's eyes immediately opened and we felt that this was it.
What was the reason for postponing the premiere from October?
PM: – We were forced to make a few changes. We create things with our own hands, with our own strength, and we try to handle them as best as we can. We are not a large commercial label. We have come to decide that it is better to do something well, rather than half-baked at the last minute. We realized that we are not in a hurry to do anything, that the most important thing is our vibe inside, not to do things under pressure, but to make everyone feel good about it and enjoy it. All these important elements influenced this that it was better to postpone these things, better to plan them and do them with more fun, not stress.
Observing your actions, you can notice a constant annual cycle. Album premieres and festivals took place every year in October, previously singles, camps, etc. In the case of “Noir” this was slightly disturbed…
PM: – Maybe not so much disturbed, but changed under the influence of many problems we were struggling with at that time. What will happen in 2024? We'll see after the festival. However, I am sure that the orchestra will not come out every year. The last three years have shown that this is definitely too much of an effort to handle it strategically. So I can say that this cycle will definitely stretch, but I don't know how much. We must try what is best for us, we cannot be afraid and we must be open to new things.
The composition of the Orchestra changes from year to year, depending on the new topic. How is it created?
PM: – I choose the team. I wonder who would be a good fit for a given topic, what cool artists are currently on the music market and who create something. However, all this is undertaken intuitively. I don't think about which one will bring greater benefit, I don't analyze any charts. I rather focus on what connections would be interesting and inspiring. And that's exactly how this year's lineup was created. I wrote down people's suggestions on a piece of paper and that's how it was finally created. The situation with Antek was unique, because although I had taken him into account earlier, we had already closed the squad.
AO: – Piotrek came to my concert in Warsaw, I didn't greet him at all because I was in a sort of frenzy before the show and I didn't understand what was happening. However, we agreed afterward and he asked if I would like to join. I reacted positively to the invitation because I saw how well they did it and how well they handled it all. I thought to myself that I would love to take part in such an experience.
PM: – I went to the concert and Tony blew me away on stage. Even though our line-up was already closed, I went backstage and Antek and I reached an agreement after the concert, without thinking about what the consequences would be. In the end, we had as many as five vocalists (laughter). Then, when I returned home, I had doubts about how we would manage to reconcile so many of them at composition camps. But in the end, the effect was great.
Did you have problems with scheduling camps for the entire orchestra?
PM: – This is surprising to me, because when there is energy in the team, where everyone is interested in something and wants to get involved in the project, I have the impression that setting joint dates is not a problem. Everyone has that time off and has that time. It looks as if someone from the outside was watching over all this. We're talking about eight people here, each of whom has their own private life, their own job, their own solo projects, and yet we all manage to find this time.
You chose the 16th-century palace in Gorzanów as the location of this camp. Why did you choose this place?
PM: – We wanted to find a place that would evoke this “noir” atmosphere and awaken it in us. This palace was exactly as we wanted. It was dark, we slept in chambers that had been converted into bedrooms. The entire compositions were created in an old library. , we placed the instruments there and the whole surroundings really fit in nicely.
AO: – It was a truly magical place, and the people were also unique. (laughter)
Antek, what were your expectations when you started this project for the first time?
AO: – I haven't had any expectations in life for a long time. Certainly the opportunity to take part in something that is professionally handled and will look like that in the end. I must admit that I missed such cooperation with people who simply know what they are doing. I also had a small break from making music and I wanted to move out a bit and see what I can do in such an extensive group that does not follow the atmosphere that I create on a daily basis.
PM: – I am really happy with what is happening when we create such a squad. These artists do completely different things in their solo projects. The band creates a really nice mix of it all.
What kind of reception do you expect for the album “Noir”? After last year, when you managed to play a lot of concerts and festivals with the album “y2k”, does your appetite increase as you eat?
PM: – Last year, in my opinion, is not entirely due to “y2k”, but to the project that was born on the occasion of “The Art of Love”, which we later developed and continued. Every year we acquire a new group of recipients, so I hope that this trend will continue to grow, that it will not stop and we will be able to constantly develop and play more concerts.
What are your expectations regarding the premiere concert at the aforementioned Ars Latrans festival? Are you a supporter of this material in a studio or concert version?
PM: – Well, I can't wait to play these songs live. That studio work was cool, but playing live shows is the coolest thing you can do. Sitting in the studio cannot give you this contact with the audience. Knowing our potential, I expect quite a firecracker and debris from the stage, in the positive sense of the word (laughter).
AO: – Writing music is cool, but I don't like sitting in the studio. This is too tedious a process for me. For me, concerts are a moment when I can say “I'm checking” because I see how other people perceive these songs. When I'm sitting in a chat, I know it's cool, but I still don't have the experience, the emotions that come with the audience. So the moment we start playing shows is the one I'm looking forward to the most. Then I can stand on that stage where I really feel at home.
At the premiere concert, will we be able to hear materials from previous albums, or only “Noir”?
PM: – We treat “Noir” as a new chapter, so I would like to present the artists who make up this orchestra. I would like their solo songs to appear, and there will also be special guests at the concert. Without returning to previous songs or playing covers.
Do you feel that the project is a kind of Ars Latrans Orchestra mission to shape the future of the Polish music scene?
PM: – Ars Latrans gives us a space where we can create cool material together and help each other in such a large lineup. We all have more opportunities together. However, the most important thing for me is the issue of getting to know each other. This mission that I have in mind is completely fulfilled – networking between people. That's what it's all about, exchanging these ideas and inspirations with each other.