An Interview with Wet-Man

If you're not yet too familiar with the music of Wet-Man, then let us be among the first to introduce you as the artist has recently released a series of singles that blend elements of synth-driven pop, industrial, electronic, alternative pop, and more, all rolled into these edgy and character riddled soundscapes.

The London-based artist is known for being able to paint pictures in your head as you listen to songs unfold because he is a sound sculptor. He's able to create layers of texture with his music and often utilizes that attribute to build atmospheres that you get caught up in.

One of the first tracks I love to talk about is called "Automatic", which is auspicious but still, edgy song that does indeed blend this cyber pop element into a sort of dark atmosphere so that the song has little hints of haunt but provides brilliant textures that draw you in and let you get in golfed and everything that's happening.

Getting engulfed in Wet-Man's music is one of the staples that you'll find throughout most of his tracks.

This one in particular has a sort of vast undertone to it that wraps itself around you and keeps you right where it wants to.

This is one of my favorite tracks and one of the best ones to introduce yourself to this project with.

While there is some honesty in the lyrics, it can be taken as metaphorical or even science fiction, but it definitely grabbed me in terms of painting this sort of dark picture.

Another track that hit hard is one called 'PTSD", which has a bit of a different approach and comes through with a little more color and brightness to it.

This one has an amazing use of synths and comes with a slight glitchy undertone, which I loved because he always adds these new and different elements to the production of the songs.

This track also provides a bit more melody vocally as well, which I thoroughly enjoyed because he performs vocals with a certain kind of passion behind it, and it helps add to the drive or sentiment of the song, a lot of the time.

Listening to this track, you can tell this certainly comes from someplace authentic, and it comes with lyrics that you can feel certain kinds of tension from, but again, that's the point.

Wet-Man can be very expressive lyrically, and I think the music helps set the mood for those lyrics.

Another track that follows suit in terms of letting out a lot of inner thought and having some emotional backbone is one called "Stigma".

"Stigma" is an amazing representation of how this artist does his thing. This track in particular provides more of a heavy-handed beat, giving you an industrial feel, but also includes a slew of sorts and different kinds of tones that bring out those edgier elements while still providing Melody and a certain level of heaviness to everything.

These songs can certainly be heavy at times. Not in a metal kind of way, but in a heavy synth-driven, almost darkwave or industrial kind of way.

You can hear a slew of influences as you listen through the catalog, and it's something that really serves as an escape.

At times, it feels like the songs can be theatrical as well. I love that heavy, theatrical, and dramatic appeal that the songs provide.

A lot of it has that dark or edgy, almost gothic underbelly, which is also another staple that you hear throughout a lot of the songs, but there is always a character or personality that the songs give you, and that's what helps them really thrive.

In certain ways, you can find yourself connecting to those lyrics.

One of the latest tracks, 'Ghost Particle", is one that comes with a certain flow to it, but its spaciousness lets you pay a lot of attention to the lyrics.

All of these songs offer something different, but I think what's important is that they all have a piece of that personality in them. This artist gives pieces of himself when he releases music, which draws you into everything.

Again, he's definitely a sound architect of sorts and can produce songs on his own that are driven by creating fresh sounds, tones, and textures.

Listening to these songs, we wanted to chat with Wet-Man himself to find out where these songs actually do come from and what may be coming next for the artist.

Here's what we found out.

Buzz Slayers: Let's talk about your most recent singles like Automatic and PTSD!!  These releases had a great aesthetic with elements of electronic, cold-wave and industrial!! Where did these tracks come from? 

Industrial is closest to my heart right now. I’m also a fan of sci-fi literature and film, and Automatic was composed entirely with that spirit in mind. Musically, I was aiming to channel the ’90s as closely as possible. The theme comes to life in a video I produced, where an android undergoes something called Obedience System Analysis.Like good science fiction, the dystopia in Automatic shines a light on the darkest parts of human nature. The way the android is treated—as a tool, a slave for special tasks—isn’t far off from our reality. The human figure in that narrative represents a kind of psychopathic evil. I’m not condemning all of humanity, but when I look at world leaders today—the rot, the corruption—it’s hard not to feel disgusted. The planet is beautiful; it’s people that are fucked up. Leaders like trump and putin etc.(yeah, lowercase—they deserve the same respect as shit down the toilet) make me sick. And the worst part? As individuals, we’re often powerless to change anything.So for me, music and image become tools of resistance. They’re how I process the world and speak out. I create as a sort of positive fatalist—I’ve taken the red pill, I see the ruin ahead under tyrants, but I still believe these messages will reach people with empathy, those who think critically and don’t swallow lies.PTSD tackles post-traumatic stress disorder—one of humanity’s real monsters. There's a video for that too, built around a metaphor: a girl running from her own shadow, which turns into a tar-drenched demon. We all carry shadows like that. Childhood trauma, psychological scars, mental doors we never should’ve opened—they haunt us into adulthood. Even just being aware of the world around us can be traumatic. So, the question is: how do we feel again? How do we let ourselves laugh and cry like we used to? The lyrics are simple, but they reach into places people tend to avoid.

Buzz Slayers: I'm hearing a few different approaches to these songs! Who are some of your biggest musical influences?

It may sound cliché, but it's real: Nine Inch Nails, Gary Numan, Ministry, Mike Patton in all his forms (especially Fantômas), The Knife, Fever Ray, Aphex Twin. These artists have been—and still are—huge sources of inspiration for me. I’m pretty stuck in the ’90s, and honestly? I don’t see that changing. What I care about in music is the subjective message, the deepening of consciousness. That’s why NIN resonates with me most. I’ll be at their show at the O2 Arena in London on June 18—absolutely.

Buzz Slayers: Did you record this at a home setup, or at a big studio?

Some of the greatest hits ever made came out of garages. Maybe I’m naïve, but I don’t see a massive difference between a commercial studio and a personal setup. I compose in my home studio. I like the intimacy. I like being close to everything.

Buzz Slayers: What kind of gear do you use to do synths and beats?

The latest singles were built on the Moog DFAM, Arp Odyssey, and piano. That combination lets me hit both emotional depth and raw electronic power.

Buzz Slayers: How did this all start for you as an artist?

It all started back in the ’90s, DJing on the Polish underground scene under the names Grepa, Bellow, and WetBitchPeeingOnTin. But I quickly realised I wanted to create, not just play. Around 1998, I started producing on cracked software with a computer that overheated every time I touched it. I’m self-taught and always hungry for sound. At the time, I had a lot of catching up to do, but meeting people from different musical backgrounds opened my eyes. I started to understand that music isn’t just a genre—it’s a medium. I went through: classical, blues, jazz, rock, and of course, modern sounds. But electronic music stuck with me. It shaped how I create today—dense, thoughtful, and layered.

Buzz Slayers: Are you performing live right now? 

Haha, sounded like an invitation! I’m working on new material right now, and yes—some concert dates are coming up in London, along with a festival in Poland. I’m just waiting on final confirmations. On stage, I love going theatrical—body bags, blood in drips etc. I like my music to attract an audience of replicants, androids, cyborgs, bots, vampires, ghosts and telepaths.

Buzz Slayers: Now that this is out, what's next for you as an artist and songwriter/producer?

I’m not fucking around—three new singles are on the way. Ghost Particle drops May 29 and dives into themes of consciousness and the subconscious. After that comes Bulletman, a synth-punk political middle finger, featuring Nicolas Zappa from The Silent Era on bass. And then there’s Abducted, which, yes, is about me being taken by aliens. I’m also remixing work by other artists. With any luck, those will see daylight this summer.

Buzz Slayers: Who's in your headphones right now?

I Speak Machine, Battles, A Place To Bury Strangers, Medio Mutante.

Buzz Slayers: What would you tell people they can expect on these releases?

They should expect honesty and authenticity. That’s the signature. The dark and melancholy come from aesthetics, I aim to tell a story with each track. If these songs find their people—mission accomplished.

Buzz Slayers: Before we go, what would you like to express to fans of the music?

Fuck Spotify and the corporations killing music from the inside out. Support artists who have something real to say. Build communities that resist tyranny, materialism, and consumer capitalism. Respect yourself. Respect your environment. Music is more than entertainment. It’s a tool. It’s a form of education.

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