What was life like for you before you got into music?
The world was a desert and music watered it. Seriously, I fell in love with music when I was 9 years old. So there wasn’t much time ‘before’, but there is already a lot of time ‘after’. I hope it stays that way forever.
What’s the live music scene like in Augsburg, Germany right now? Anyone we should be looking out for (bar you, of course)?
Check out Roy Bianco & the Abbrunzati Boys. They are from here and these guys are going nuclear in Germany right now. I’m positive that you guys will love it.
It seems like being a social media curator has become added to the many jobs of a musician, how do you feel about this?
It´s fun when it works, everything is in your own hand. But the truth is also: it’s pain in the ass to get thru.
How do you manage engagement on your socials?
I´m an organized guy, that helps a lot and I have support from Gruenrekorder and Hidden Shoal, the labels I work with.
What’s your view on the Music industry today?
What industry do you mean? There is not much left that can be called an industry. Like many things in this world, the music business has lost its balance. At least that’s my opinion.
Where do you feel you currently sit within the music industry?
I move in the niches of sound art. I work with field recordings, make sound collages and feel connected to experimental music and musique concrete etc. That’s pretty leftfield and has nothing to do with the music industry you might be referring to. I’m not complaining, it´s a wonderful but breadless biotope.
Whats the biggest thing you have learned recently as you progress with your music?
As a field recordist, I’ve learnt over the years to listen deeper and deeper into my surroundings. It’s not something I’ve learnt recently, but it’s an ongoing process. The world is full of fantastic sounds. And if you listen carefully, there’s so much to discover that you haven’t heard before.
What was your best experience on stage?
A few years ago, during a live performance in the summer, the roller walls on one side of the room went up in the middle of the set. The room was glaringly bright within seconds and a couple of warehouse workers delivered hundreds of stacked chairs to the room without even giving us a glance. It doesn’t get more Spinal Tap than that. From then on, I became more involved with sound installations.
Tell us something about you that you think people would be surprised about.
I only have 31 teeth by nature. The 32nd was never created. I’m a mutant. Nobody knows that.
I hear you have new music. What can you tell us about it?
Two singles have been released by now. ‘late’ and ‘fer’. The complete album ‘trans’ will follow in August. It’s a post-ambient album with electro-acoustic compositions on it. The music on “trans” is melancholic, but it doesn´t make you sad. I hope to be able to offer some comfort in these unstable times.
What was the recording process like?
The album is, so to speak, a waste product. I always worked on it in the breaks between my sound installations. There was no conceptual pressure, everything was allowed to happen at first. It was a bit like taking a holiday from myself. So, the creation process was very joyful and also very relaxing for me.
What was the biggest learning curve in writing the new tunes?
Time is a great plug in…and the cheapest. Letting things settle and coming back to them later was a very fruitful way of working.
Would you change anything now it’s finished?
No. I love it. And I´m good in letting things go at a certain pointed and turn to new stuff. I think that’s healthy. Otherwise you quickly run the risk of going round in circles.
Is there anything else you would like to share with the world?
So much, but I don’t know where to start.
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