Wiktor Fejkiel: What is the reason for this change of style and giving yourself space to experiment?
IGNACY: – I just wanted to try something new. When finishing the material for the first album – “Central Park” – I had the assumption that I wanted to allow myself more on the second one. I also knew roughly what direction I wanted to go next. So it was a natural impulse that appeared somewhere and which I decided to follow.
Is it more of an evolution or a revolution for you?
– On the one hand, when I listen to this material, I hear that purely musically there has been a revolution – a 180-degree change. On the other hand, I would not like to completely cut myself off from what I was doing before. “Central Park” also reflected my personality, my thinking about music, which I had two years ago. That’s why I personally treat it as a new stage in my life and my work.
What is the biggest difference in the creative process between “Limbo” and “Central Park”?
– I think that, first of all, I started thinking about what I would like my music to sound like. A lot has also changed since I bought my first synthesizer and learned how to use it. I started creating my own sound banks, which gave my work a new color. The entire material for “Limbo” was created for a much shorter time than that for “Central Park”, which was also something new for me. But it’s not like everything suddenly changed. Then the music comes first, and then I write the lyrics to it. Even though, as you say, the difference in sound is drastic.
What inspired you when creating “Limbo”?
– Mainly trip-hop, especially the classic 90s sounds from Bristol. “You can’t see anything on me”, the first song I created for the album, was created at the time when I listened to this music the most. This initiated a new process and I have the impression that the inspirations from this genre are palpable on “Limbo”. Of course, I wouldn’t say that it’s strictly trip-hop music, but in a few songs we smuggled in some tidbits that will be noticeable for people listening to such music.
As for the title… Did you include a reference to the game “Limbo”, which is iconic in contemporary pop culture, or simply to this state of uncertainty, in English?
– As for the game, I actually got to know it after I came up with the title for the album (laughter). I must admit that although it popped up at the very top in my browser when I typed “limbo”, I had not seen it before. However, I do notice some similarities in terms of the plot of the game itself to some of the stories I tell on this album. However, it was a matter of chance.
The way of experimenting with voice is also quite interesting, for example in “24/7”. Did you have difficulty balancing these modulations so as not to overdo it?
– This is very related to the previous question and the title of the entire album. For me, the word “limbo” has a fundamental association mainly with voices emerging from the abyss, hidden beneath the very surface, trying to emerge from it. It was also one of the first assumptions to include this element with a hidden modulated voice on each track. That’s why I wasn’t afraid to experiment and this is definitely one of the pillars of this album.
The first single that heralded “Limbo” was “Trucizna”. How did you experience this piece?
– Very positive. Many people who associate me mainly with “Waiting for a Sign” were surprised because, of course, it is something new, something completely different. I also expected that such material would not be successful in terms of views, because, let’s face it, it is not a song that will be at the top of the charts of the largest radio stations in Poland. So this reaction was predictable. Regardless, I was happy to see how many people appreciated this song. But what satisfies me the most is that I get full satisfaction from this piece and the whole album in general. For the first time I started listening to a lot of my own music. And these are the emotions, precisely mine, that I fought for when creating this album.
After creating “You Can’t See Me”, did you immediately know what direction you wanted to go with the rest of the material?
– This song you mentioned was created when I was finishing “Central Park”. I remember a moment when the record company advised me to include this song on my debut, which simply didn’t work for me. This was the moment when I first felt that I wanted to create in this atmosphere, and already then the style of the second album was being created. So by all means, “There’s Nothing to See on Me” gave rhythm and color to the entire album.
What was your main idea, lyrically, for “Limbo”?
– I think this state of uncertainty about what will happen next. Troubling thoughts about the future, but also an attempt to come to terms with the past and this state of suspension in between. The quintessence of all this is the word “limbo”.
At the previous “Central Park” you invited two guests: Zalia and Paulina Przybysz. Where did the idea that there would be no collaborations on “Limbo” come from?
– This was one of the main assumptions when the album was created – no guests. There was a temptation to do so a few times, especially since at times the music was crying out for a new voice. But I wanted to focus on intimacy here. All the lyrics are about what’s going on in my head, most of the songs are even monologues. This is the main difference from my debut, where I wrote more about interpersonal relationships and emotional problems. Here, however, I focused on what was in my head – I tried to look into it and talk to myself. Therefore, the guests would have no reason to exist and I think I made the right decision to not give in.
What are your plans for 2025? Rest or work on the next album?
– This time I don’t have a ready plan for the third album (laughter). I’ll take a break to catch my breath. I think I would like to continue to evolve and try something new, but I won’t reveal anything for now. Closing the “Limbo” stage, we are planning a concert tour in the spring, so that’s my priority for now. What will happen later and what ideas will come to the third album? We’ll see…