Earlier this year, on a pleasant June evening, a room full of creatives sat in a semi-circle around the immersive sound system of a listening room named ‘After’ in Berlin’s Kreuzberg district to listen to Fred Mann’s debut album ‘In Thy Domain‘. What followed was a 45-minute journey through an intricately carved, eloquent, and precise musical representation of the evolution of time, comprehensible to the human mind.
A goldmine cinematic production, Mann’s ‘In Thy Domain‘ is a double LP concept album that transverses multiple genres—from ambient, broken-beat techno and experimental drone, with stark audible synergy, exposing the tipping points of human civilisation and the defining timelines that have shaped it. A glance through the double-fold album sleeve, accompanied by a single listen, reflects Fred’s in-depth research and elaborate thought processes, inducing a vivid, telepathic voyage along the artist’s vision.
Although the album releases in 2023, much to everyone’s surprise, the British artist originally premiered ‘In Thy Domain‘ with a brain-melting a/v live performance in Prague in October 2019, alongside Alessandro Cortini for Dietl Archive x Polygon. While Fred makes mysterious appearances in broken timelines, we caught up with the producer to uncover a few hidden perspectives. Thanks to Fred, the interview is bolstered with a riveting hour-long mix that, much like his debut album, floating through emotions and genres made for mid-week retrospective after-hours.
*SWIPE GALLERY ABOVE TO VIEW IMAGES*
Interview by Asmi Shetty & Tom Durston
"I wondered if you could somehow make music to symbolise a period like The Enlightenment, inspired by the era of the painting"
Thank you for taking the time to speak with us about your album ‘In Thy Domain’. After attending the album listening session in Berlin, I have been eagerly looking forward to learning more. First and foremost, I would like to know how it feels for you to finally unleash the album into the world?
It’s a cocktail of emotions really. On the surface it’s mainly a large dose of relief, plenty of elation, and some pain for good measure. I’m 37 now, so a large part of me is kicking myself for waiting so long to release something, although I’ve never fully committed to being a musician. Now I’ve finally released something though, I don’t really want to stop.
‘In Thy Domain’ is an ambitious album that seeks to encapsulate the dynamic nature of human evolution over billions of years. Through its carefully crafted narrative and soundtrack, it aims to transport listeners through time and space, offering a profound reflection on the journey of the human species. Tell us more about your decision to explore this narrative and why you decided to soundtrack such a monumental project?
It actually started with this one kitsch painting, specifically John Martin’s ‘The Plains of Heaven’. I used to sit in the Tate Britain just staring at it all the time, instead of going to my lectures at the art school next door. It was then, 16 years ago, when I wondered what a space like that would sound like, or at least what music suited this kind of space. Then I wondered if you could somehow make music to symbolise a period like The Enlightenment, inspired by the era of the painting.
Years later I was listening to Richard Dawkins talking about how so many of the great masterpieces in music are a reflection on God, and he was wondering what a Beethoven symphony would have sounded like if it was about evolution. Then it dawned on me that I could try and make music for every time period, but in a really condensed way.
I started to collect some imagery to help hash out the different themes. I had thousands of images already from my years of obsessive googling. The visuals and cut outs eventually formed themselves whilst reflecting on each era, until I could start making the music. I made almost all of the music within a month in 2018 and then Ed Davenport and Chris Taylor helped me finish it.
"I used a method used in film where the first scene is the climax of the film, and the following scene returns to the beginning and the steps are retraced back towards the climax and beyond"
Tell us about your album writing process, studio setup and the instruments you used to produce the album?
I have no formal training in music so it came down to a lot of improvising and trail and error initially. I can’t even read music so it was purely about evoking the right emotions, and over time it got easier thanks to modern technology. I used Ableton, a DSI Tempest, a DSI Pro 2, an Electron Digitone and a Strymon Big Sky Reverb. Ed and Chris added various other machines to the mix, including a Korg Elektribe ESX-1 from Ed and flutes and bass guitar from Chris.
How would you best describe the beginning, middle and end of the album to first time listeners?
I didn’t really want it to be overly chronological so I used a method used in film where the first scene is the climax of the film, and the following scene returns to the beginning and the steps are retraced back towards the climax and beyond. So the first track ‘Cometh‘ refers to our current times and century and the coming challenges, especially the singularity and then the second track is the beginning of human existence. The middle of the album reflects on our more modern eras like the industrial age. The end is what I imagine will be our future, our life after AI and beyond.
You made the artwork for the album. What’s the story behind the rock on the cover and the text inscribed?
The rock is a 3D scan of a flint tool. It’s merely a representation of human evolution and our relationship with technology. Benjamin Maus worked on the visuals with me and this rock was an important part of that. I tried to render it with a more fleshy/human vibe and designed the rest of the vinyl to match it.
The gatefold edition of the album features a collection of artworks that are connected to each track. How did you go about curating these images? Where are they sourced from and what makes them so significant to you?
One of my biggest problems/addictions has been sifting through the internet. I’m innately a curious person but I have spent far too much time collecting images without knowing what to do with them. My image collection eventually came in handy when I was trying to collate everything for the album. I didn’t want to have lyrics or writing attached to the album so these images contain all the information I want to show. Read into them what you want.
"Prague was my first live gig so I was melting with nerves but with Benjamin Maus by my side it felt doable. It was an honour to play with Alessandro Cortini of course. I don’t think it could have gone any better really. Everyone was so sweet and bizarrely generous"
I am particularly fond of the tracks ‘Fuming‘ and ‘Horizon‘. These two songs evoke distinct emotions and imagery in my mind. Which images in the gatefold correlate to these tracks?
If you look at the gatefold image you can see which tracks are related to which set of images. In the case of ‘Fuming’ that is B3 or track 6, and ‘Horizon’ is C2 or track 8. ‘Fuming’ represents the era of modern conflict and ‘Horizon’ is about life after this current century.
Back in 2019, pre-pandemic, you premiered ‘In Thy Domain’ for Dietl Archive in Prague as support to Alessandro Cortini, an audio visual show with visuals by Berlin-based visual artist Benjamin Maus. Looking back at that time, tell us what you remember from that show, the reaction from the crowd and what you learnt from the performance?
Prague was my first live gig so I was melting with nerves but with Benjamin Maus by my side it felt doable. It was an honour to play with Alessandro Cortini of course. I don’t think it could have gone any better really. Everyone was so sweet and bizarrely generous.
Tell us more about your collaboration with Benjamin Maus and how the two of you brought In Thy Domain to life visually?
I feel really lucky to know Ben. I met him through my partner Stephie and eventually got to know him whilst working for a design studio together and loved him from the start. I wish I could do the things he can. If you can dream up a creation Ben can make it for you. When it came to the album I knew I could rely on him to encapsulate what the music was about in relation to the images and sounds I showed him. I only wish we could have used the visuals more in the various performances since we made them.
I can only assume that the pandemic caused you to halt releasing the album. How did you eventually end up selecting Ed Davenport’s record label Counterchange to finally release the album?
The pandemic came just as I was planning to release the album. Luckily Ed supported me from the start and kept on encouraging me to release it once everything picked up again. I love so many of the artists on the label including Efdemin and John Gürtler. I love the eclectic mix of genres on the label too, including the film soundtracks, which is something I would love to be involved in one day.
"I’m not sure where it’s all taking me. That’s the fun part. I’m in a position where I’m trying to discover my possibilities. With AI now it’s starting to feel like anything is possible"
Journeying into the album, we find some incredible collaborations. Many tracks feature additional production, synthesizers, flute and clarinet by Chris Taylor (Grizzly Bear / Warp) and drum programming by Ed Davenport. What was Chris and Ed’s influence on this album?
Like most great people I’ve met whilst living in Berlin, I met Chris through my partner Stephie, and I was so happy when he said he was up for working with me. I’ve been a fan of Grizzly Bear for eons so it really helped to bring the whole thing together. I had been a fan of Ed’s music for about a decade too so getting to know him helped a ton. I would never get anything done without collaborations and generous friends.
‘In Thy Domain’ is a conceptual piece of art. A lot of time and effort has been invested into its creation. In many ways a very personal journey. What do you think your future as a creator and producer holds for you?
I’m not sure where it’s all taking me. That’s the fun part. I’m in a position where I’m trying to discover my possibilities. With AI now it’s starting to feel like anything is possible, so it all just comes down to good PR now.
What’s next for you? Do you envision performing the album live with the visual show? Where would you ideally present the show again?
I just want to create some momentum and try and condense everything I’ve learned since the last album, which was a long time ago. I would love to play live with the visuals but it’s an oversaturated scene and I need to just release more music before things can progress I think. I would ideally present the show in a place of scientific research. Maybe an astronomical observatory or something different.
Thank you for speaking, Fred. Very excited about your journey. Finally, as we part, any words of kindness you would like to share with creators like you?
Geniuses don’t exist, there are only good collaborations. So don’t be afraid to ask someone for help.
‘In Thy Domain’ is out now via Counterchange. Order a vinyl copy from Inverted Audio Store and digital from Bandcamp.
Photography by Kate Schultze and Tom Durston
TRACKLIST
1. Läuten Der Seele – Ich ging durch einen grasgrünen Wald
2. MPU101 – 260078_2
3. Antigone – Onomatopoeia
4. Forest Drive West – Ricochet (Felix K Reinterpretation)
5. Ex Wiish – Resident Deceiver
6. Not Waving, Romance – Tears of Gold
7. Vorm in Geluid – Vorm in Geluid 006
8. OSSX – Split Wig
9. Strange Contents – Death Signal
10. Demdike Stare – Hardnoise
11. D3U5E & Gav – Of The Gods
12. Atom™ – Sprechender Raum
13. Masaki Uchida – Chalice
14. Burial – Rival Dealer (Edit)
15. Shxcxchcxsh – Tion
16. The Ghost That Walks – Escape The Curse
17. Untold – That Horn Track
18. Fred Mann – Entropics
