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RGM INTRODUCING – WE INTERVIEW GERMANYS LUMP200

What made you decide that music is a thing for you?

Oh, it didn’t feel like it was a decision. The longer the more I started to spend time with music, classical music as a younger child and soon there were bands, Rock, Pop, Jazz, my first own band around 16 – and in I was.

Introduce us to you and your musical history.

I played in more bands, studied Jazz/Saxophone after school, quit my studies, and even stopped to play the Sax – or almost. I focussed on sampling – which was triggered by the musically incredible nineties. And I started to mess around with styles, felt that there are thousands of possible combinations, an unlimited treasure through combining sounds, rhythms, instruments, styles.

The music industry is the hardest industry in the world to progress in, How do you feel you are doing?

Is it? Compared to other jobs it feels like a privilege to me to be a musician. But true, it’s complicated, too. I soon learned that I need to find niches – or make too many compromises. One of the niches I found was to combine sound with literature and spoken word, live and for the radio as well as for plays. Another one is music for art installations. And at the beginning of my career, I did jobs that had not much to do with music, as a waiter, in a call center, I was a music teacher, too.  

I’m seeing a lot of debate about women not feeling safe at music gigs, any thoughts on what we need to do to help?

Not specifically for gigs but generally: We need to overcome the patriarchal mud: habits, moves and structures – and they lurk behind every damn corner and definitely in every single corner of show business. I feel that all members of most societies are so impregnated with those structures – often in the disguise of traditions – and they are so boring and terrifying. So let’s try to stop that shit. Find and show respect, listen, and do not try to own and dominate bodies and souls, for everyone’s best.

As you develop as an artist and develop using socials what ways do you get new ears on your music? Any tips?

Not really, it feels that every release cries for new paths..

Tell us Two truths and a lie about you.

I am lost. I am shy. 

Can’t tell the truth, what’s the lie?



What was the worst experience on stage?

There was a bottle of beer flying in my direction – I guess the thrower didn’t like my set, it was @Dachkantine in Zurich.

What makes you stand out as a band/artist?

I don’t mind hard cuts, I even cut layers hard, the vibraphone etc. I think this practice in combination with my phrasing can result in a certain freedom for the receiver not to be lead to a predestined point but to find her*his own path.

I hear you have new music, what can you tell us about it.

Well, Kryptomarch is the first single of the coming album „Isles of You“ which drops in combination with a social audio web app in spring 2023. The app invites to co-create, participate and let others participate. In the music, we combined organic elements (bass clarinet, tuba, vibraphone, voice, and field recordings) with harsh electronics and oscillate between overload to minimalism. The more minimalistic tracks are the starting point for the app in which users can embed their own voices. The first version of the app will be released with the second single in late February 2023.

Talk me through the thought process of the new tune/s.

One of the meta lines of the album is differentiation. Another one is diversity and the idea that not every contradiction has to be ruled out. Isles of You suggests co-existence and participation. The app that accompanies and extends the album into a potentially indefinite process invites to experiment with co- and crowd-creation.

What was the recording process like?

Every tune has its own process. In Kryptomarch – the first single of „Isles of You“ – I started with the synth melody in combination with some sampled and granulated sounds from a pvc hose. A heavily processed bass clarinet was added – you may recognize it as harp-like synth layer. Drums and more metal session sounds were added as well as electronic bass. The relaxed intermezzo sound comes from an e-bass treated with an e-bow. Els Vandeweyer on prepared vibraphone was recorded in a final session. Heavy side-chain compressions were used throughout the whole process.

What was the biggest learning curve in writing the new tunes?

If I was less chaotic in the first stages of the process there would be much less work in the end.