What is this that stands before me? Wir sind die Roboter, kannst du Regale dran aufstellen. Creatures of the night, 3 Tage wach, kennt ihr die Sonne noch? Die Wolken bleiben schwarz! Just another manic Monday, everyday is like Sunday. Like latex, fur and feathers, isn’t made for only girls. Bigger and brighter and whiter than snow zwischen Nanga, Parbat, K2 und Everest. There is no driver at the wheel, business continues below.
Unzweifelhaft dürfte aufgefallen sein, dass die Überschrift einem Kraftwerk-Song entstammt. Die wundervollsten Eigenschaften der Electro-Pioniere aus Düsseldorf sind gewiss ihre nahezu unbändigbare Experimentierfreudigkeit, ihre Internationalität und kosmopoliten Botschaften, sowie ihr bemerkenswert konsistenter Output, vom Krautrock-Standard Kraftwerk (Philips 1970) bis hin ins neue Jahrtausend, zu den Techno-Klängen der Tour de France Soundtracks (Astralwerks 2003). Während es recht unwahrscheinlich ist, dass wir jemals eine weitere Kraftwerk-Platte erleben dürfen, steht unsere kleine Unternehmung, das wolfgang Music Department, gerade erst in den Startlöchern.
Europa endlos
Da ist Kraftwerks Diskographie beinahe eine gewisse Inspiration: Wir wollen experimentierfreudig und weltoffen, verlässlich und konsistent sein. Wir wollen neue Formate ergründen, die Grenzen des Musik-Journalismus ausloten, dabei aber stets qualitativ hochwertig bleiben, die lokale Szene im Auge behalten, gleichzeitig weit über den Tellerrand, von Mexiko über Serbien bis nach Australien blicken – allesamt Länder, aus denen unsere Redakteur*innen unter anderem stammen. Alleine deshalb werden nicht alle Beiträge auf Deutsch erscheinen, englischsprachige Texte wird es auch regelmäßig geben.
Working 9 to 5
Wir haben eine Vielzahl von Formaten entweder geplant oder bereits ausgearbeitet, wollen damit möglichst viel Abwechslung bieten. Zunächst werden fixe Veröffentlichungstage Montag (für Platten-Reviews) sowie Freitag (für nationale und internationale Interviews) sein, bebilderte Konzert-Reviews sollen hingegen so schnell wie möglich nach den jeweiligen Veranstaltungen erscheinen.
Another Confession To Make
Da wir davon überzeugt sind, dass jegliche Kritik höchst subjektiv ist, halten wir es für angebracht, uns zunächst vorzustellen, und unsere musikalischen Hintergründe und aktuellen Lieblinge schonungslos aufzudecken, damit geneigte Leser*innen auch wissen, aufgrund welcher bereits gesammelten Eindrücke und Erfahrungen welche Meinung gebildet wurde. Wir hoffen ein spannender und abwechslungsreicher Teil von wolfgang zu sein!
Anna Hager
Hallo ballo, ich bin die Anna, 17 Jahre alt und wohn‘ neben Wien.
Angefangen Musik zu hören hab ich mit circa 11, aber „nur“ Radiomusik. Danach wurde ich Green Day Fangirl, mit 13/14 fand ich My Chemical Romance ziemlich toll. Danach Twenty One Pilots und ab 14/15 Jahren auch (Melodic) Hardcore wie Architects, Casey (bis heute meine Lieblingsband!!), Being As An Ocean, Stick To Your Guns und und und. Das blieb für ungefähr zwei Jahre gleich und mit 16/17 entwickelte sich mein Musikgeschmack in mehrere Richtungen weiter – (Emo) Rap, Lo-Fi, Indie, Alternative, Dream Pop, Pop Punk und so viel mehr. Jetzt sind neben Casey meine Lieblingsartists* The Japanese House, Scarlxrd, Julien Baker, Wicca Phase Springs Eternal und Counterparts.
Anna Otto
Hi, ich bin Anna. In Bayern geboren und aufgewachsen hab‘ ich in meiner Kindheit vor allem Jazz, Swing und Classic Rock gehört. Dadurch ist mein Interesse an anderen Musikgenres erst sehr spät entfacht worden. Mittlerweile versuche ich mich nicht mehr auf Genres zu beschränken und allem offen gegenüber zu stehen. Der offene Austausch von Meinungen mit anderen Menschen hat mir dabei sehr geholfen und so ist aus dem eigenbrötlerischen, kleinen Mädchen mit „Knöpfen im Ohr“ ein Mensch geworden, der gerne und viel über Musik redet.
Seit etwas mehr als einem Jahr schreibe ich Reviews und mache Interviews. Auch wenn Geschmäcker unterschiedlich sind und Meinungen zu Musik meistens unheimlich subjektiv sind bereitet es mir trotzdem wahnsinnig viel Freude und ich freue mich auf die Arbeit mit wolfgang.
Benjamin Steinacher
I grew up with mostly Austro-Pop and Classic Rock. Listening to stuff like Wolfgang Ambros’ Hofa at a rather early age probably shaped me in some way. With 17 I discovered my love for electronic music, which started with EBM and then went on to Synthpop, House, Trance, IDM, Techno, etc. Around that time, I also started making electronic music myself. A few years later, I discovered Einstürzende Neubauten, which felt like a major revelation and heavily influenced my own music as well – I just had no clue stuff like that even existed. Another big influence was Coil with their cold, glitchy Ambient soundscapes. Through Psybient and The KLF I became interested in traditional Folk music, especially throat singing, which has become an essential part of my music taste. Nowadays I have arrived at a point where I will listen to pretty much anything – especially if it’s Electronic, Folk or weird experimental stuff.
Daniel Wenzel
Hi dear reader;
I’m Daniel, a philosophy student and music fanatic from Vienna. Music Fanatic in a record-collecting-listening-to-300-new-albums-a-year-and-telling-you-about-a-sweet-80’s-Japanese-Ambient-track-I-found kinda way, as well as in a-multi-instrumentalist-recording-the-lawnmower-for-Field-Recordings way.
Fatmir Ademi
Gabriel Niederberger
Hello everyone, I’m Gaps! That’s the shortened version of Gabriel, before anyone asks. Nice to meet you!
*record scratch* Let me tell you how I got here.
When I grew up, I was mostly exposed to the music my peers listend to, as usual. My grandparents enjoyed their Schlager – classic and the modern EDM-infused abomination that’s still called and (by some) considered Schlager. I didn’t mind the classic variant, but it never really stayed with me. My mother and my aunt however both shared a love for ,,classic“ Austrian artists: Wolfgang Amadeus Mozart (not exactly Austrian but you get the idea), EAV, Falco, Wolfgang Ambros. Additionally, my mum did love The Beatles a lot – truly mum-core music. I always enjoyed stuff that was played to me, but I never actively asked for CDs or any other music-related items.
Thinks changed when I hit puberty around the tender age of 13. I suddenly became interested in fast, riffy, beat-heavy variants of Pop and Rock – at that time mostly Billy Talent, Green Day and Nickelback. After a while, the usual suspects joined those ranks, the most important ones being My Chemical Romance (a band I still adore to this day), Slipknot and Eminem (besides from Peter Fox, my first exposure to Hip Hop).
During my time in school, especially around the age of 13 – 17, I had the odd habit of listening to the same artists over and over and over again, only picking up bands by forming friendships, and in that process getting introduced to new artists I would have never listened to otherwise. Some of those friendships are still intact, some have long passed by, but the music always stayed. Projects I encountered that way include Gorillaz, Rammstein, Iron Maiden, Casper and Bring Me The Horizon (Sempiternal (Epitaph 2013) is a classic, you cannot convince me otherwise).
However, my love for Metal – probably founded by my interest and initial fascination with Slipknot (which is not exactly the best introduction to that genre, I am very aware of that) – never faded. My introduction to ,,classic’’ Metal was a bumpy one (after hearing about Maiden, I saw fit to only listen to ,,Fear Of The Dark’’ for a good six months), eventually both Iron Maiden and Black Sabbath clicked. Soon after that, Metallica, Rammstein, Ghost, Sabaton, Turisas and many, many more followed. For the longest time, I had a tough time getting into the harsher side of Metal. Death, Black and Drone took some time. However, more ,,poppier’’ approaches like Amon Amarth and In Flames helped a lot. Now, it’s mostly various subgenres of Black Metal, for example Harakiri For The Sky, Venom, Agalloch and Summoning.
What happened around that time as well, and still persists until today (it only ever got stronger) is my love for German-speaking music. I always pay a lot of attention to lyrics in general, and I major in German language, which might explain why I’m so obsessed with hearing my first language used, but to this day I still have no real explanation. No matter the genre, I just love German-speaking music a lot. The first time I discovered that was around the age of 15, when I, out of sheer curiosity, picked up In Extremo’s release Sterneneisen (Vertigo 2011). Hearing this record absolutely enchanted me, and I’d listen to it on repeat while working on my PC, riding the bus, walking home. It’s not my favourite In Ex release by any means, but I still enjoy picking it up once in a while, for old times‘ sake. The only other record I’d repeatedly play during that time, coincidentally enough, was Kanye West’s Graduation (Roc-A-Fella 2007), which is just like Sterneneisen (Vertigo 2011), a record from one of my favorite artists of all time that I don’t love, but still listen to occasionally
In Extremo, together with Casper’s Hinterland (Four 2013) two years down the road, showed a world of German music to me, that could have all started with EAV, Falco and Ambros, but took a good 10 years to finally swing open. Upon rediscovering the aforementioned artists of my childhood, I actively started looking for more German-speaking music, got deeper into that interesting micro-genre that is Mittelalter Metal, also starting to appreciate Svbway To Sally and Vogelfrey. Current German-speaking favs include Einstürzende Neubauten, Kraftwerk, Bilderbuch, Falco and K.I.Z.
What really helped a lot to form and shape my music taste was my (rather later) exposure to certain online communities. With that, my first step into ,,critically acclaimed hipster garbage“ started. I picked up the likes of Death Grips, Joy Division, Neutral Milk Hotel, My Bloody Valentine, even my beloved Einstürzende Neubauten.
The later development came with a shift in my personal life: leaving my first long-term and a short-term, rather toxic relationship behind, meeting my current fiancée, deconstructing the perception of myself, getting healthier, getting into therapy, starting to become more positive. Surprisingly enough, with all those changes, I turned to moodier and gloomier music. I started to appreciate Midwest Emo (Snowing, please reunite), Industrial, Jangle Pop, Synthpop, Gothic Rock, New Wave, eventually fully embracing the already rather experimental approaches of Industrial and turning all the way to experimental music. Only recently, I’ve (re-) discovered my love for danceable and catchy Pop tunes. I believe this is a good starting point to approach new releases, to judge them by my own merits. I also did a thing I thought I’d never do: I got a tattoo. Even worse, a music related tattoo. The logo of the Neubauten is now embedded in my right flank.
I believe my musical interest nowadays is more diverse than ever. I try to listen to most major releases, but have a slight bias towards the genres I enjoyed in the past. I love seeking out new, exciting projects and ,,niche’’ genres like Dungeon Synth, Vaporwave, First Wave Black Metal, Synthwave or Deconstructed Club. My favourite artists (that are not mentioned in my Top 10), as of right now, include Aphex Twin, Coppelius, Current 93, Falco, Ghost, King Gizard & The Lizard Wizard, Nine Inch Nails, Sir Tralala, Snowing, SOLD, Vienna Rest In Peace, Weezer and Zugezogen Maskulin.
Jarryd Brand
When I was about twelve years old I read a listicle about albums with “insane Easter eggs” built into them: one of the Easter eggs was that, allegedly, on Tool’s 10,000 Days (Volcano 2006), if you play some tracks at the same time you’d get a completely new track. Intrigued, I decided to check for myself – and the “secret song” didn’t really sound that much different from the album’s title track. The supposed mystery was a disappointment, but it did awaken my curiosity about the band. It seemed like such an interesting idea for a twelve-year-old weaned almost exclusively on her parents’ ex-Yugoslav Boomer Rock, 2000’s VH1 and her peers’ Nu Metal – this “Metal-adjacent” (at least for my standards at the time) band who was doing interesting things with the structure and length of their songs (it never occurred to me that one could make a ten minute song listenable), with instrumentation and lyricism that seemed very innovative and different but still accessible. I slowly became hooked, and for the next few years you couldn’t convince me there was worthwhile music out there that wasn’t Tool, Nine Inch Nails or Deftones.
However, hidden away from this pretentious young teenage persona, I would indulge in the closest thing I had to a “coming of age” album – Marina & the Diamonds’ (now just Marina) debut, The Family Jewels (679 2010). A girl cannot subsist on swinging spirals and pretty hate machines alone – I needed to somehow articulate the mute anxieties and pressures of the growing pains of girls imbued with a vague sense of expectation and ambition. There were many other early-to-mid 2010’s pop records written by young women that I loved dearly (most notably Florence + the Machine’s Ceremonials (Island 2011) and How Big, How Blue, How Beautiful (Island 2015), which partly served as the soundtrack to my first real relationship and subsequent heartbreak, but none seemed to resonate quite as well as The Family Jewels (679 2010).
In high school I met a very interesting girl whom I now call my best friend. Observing her from afar, the one specific thing I could remember about her was that she loved Radiohead. In an attempt to indirectly get to know this intriguing person, I decided to have a listen to “that one famous Radiohead album”, the one I was pretty sure I heard people call “the best rock album ever”. The “click” was instant – the album’s loneliness, alienation and anxiety immediately struck a chord with my own. One could split hairs and accuse OK Computer (Parlophone 1997) of melodrama for this very reason, but strangely enough, it didn’t feel like wallowing at all – it felt like recognition. It even felt life-affirming: the lyrics “I am back to save the universe” (from Airbag) and “Pull me out of the air crash” (from Lucky) instilled a sense of manic, euphoric hope one could only get as a teenager in a lot of pain, feeling for the first time that they genuinely might end up alright.
After my first big break-up happened I was sleeping over at a friend’s house. It was appropriately dramatic for the occasion – there was a lot of drinking, a lot of crying on beds and floors, and many sobbing confessions. At one point my friend decided to play me a song she thought I’d like in those circumstances – Fiona Apple’s Paper bag. In my emotional upheaval and alcohol-induced haze, I failed to fully register much of the song, mostly because what I wanted at the time wasn’t a poignant, intelligent synopsis of my current situation, I wanted to sit on the floor and howl with pain. After some healing and maturation (interrupted by other, more minor heartbreaks), when I was ready to think again, I became obsessed with the song. As I started discovering more of her music, over and over again, Apple’s razor sharp lyrical observations would completely stop me in my tracks. What makes her stand out to me is the fact that, not only is she able to precisely articulate amorphous emotional messes, but she manages to do so in a completely concise and unpretentious way. Her 2012 masterpiece, The Idler Wheel… (Clean Slate 2012), exists as a masterclass in vulnerable, honest, sincere and gripping songwriting.
Being a longtime Radiohead fan can often act like a gateway into online music communities, starting a lot of people’s “music nerd” journeys. It was through these communities I discovered a lot of what I today consider to be my favourite music: perhaps most notably, Swans. Something about the very specific type of heaviness and the particular atmosphere of their records was endlessly interesting to me. On Soundtracks for the Blind (Young God 1996), this interest spiralled into complete fascination. The nearly 2 and a half hour monstrosity is relentless for its entire duration. It provides complete immersion into its own world – albeit not a terribly pleasant one – and although it initially served as a dumping ground for all the material a band anxious to get on with their lives didn’t know what to do with, it’s graced with some of their best, most potent songwriting.
Arguably my favourite record of all time I discovered in an extremely banal way – I was looking for something long and atmospheric to serve as background music while I study for my exams, and I somehow managed to stumble into F#A#∞ (Constellation 1997) by Godspeed You! Black Emperor. Needless to say, I didn’t get much studying done, as the album’s drone-backed opening statement immediately grabbed my full attention. I’m pretty sure I barely breathed for most of The Dead Flag Blues. It was the first post-rock album I’d heard after exploring Sigur Rós extensively and I was caught completely off guard. Although the band’s second album has garnered more critical acclaim and a larger cult following, I strongly prefer the debut LP’s immersive, consistent, gloomy atmosphere and perfectly executed (albeit bleak) narrative.
In a way, it encapsulates what I mostly look for in an album – an immersive experience and a strong, cohesive story, a convincing emotional journey of sorts, not unlike a good film or novel. A great album, in my opinion, can and should do one of two things: provide the listener with a sort of tool to aid them in exploring human inner machinations more deeply by communicating the artist’s own observations and moments of clarity. Or, conversely, it should provide a kind of escape into its own world, allowing the listener to immerse themselves in exploration of a new terrain.
Laura Stöckler
Hallo zusammen! Ich bin Laura, ursprünglich aus Oberösterreich und klassisch zum Studieren vor etwa vier Jahren nach Wien gezogen. Einer der Gründe, warum es mich hergezogen hat, war neben der Kunst auch zu einem großen Teil die Musik. Ich war angetan von dem üppigen Angebot an Konzerten und fieberte während meiner Zeit in der Oberstufe darauf hin, mich nicht vor Ende des Konzerts aus dem Gasometer zu zwingen um noch den letzten Zug in die Provinz zu erreichen. Zu dieser Zeit war das B72 (vor allem samstags) das Lokal meines Vertrauens, und ich grölte mir an zahlreichen Abenden die Stimme zu Arctic Monkeys, The Killers, The Kooks, etc. aus dem Hals.
Über die Jahre hat sich mein Musikgeschmack in sehr viele verschiedene Richtungen verändert, und „durch die Bank“ ist wohl die stimmigste Beschreibung für das Gemisch an Genres und Interpreten das meine digitale Musiksammlung aufweist. Von Acid Techno bis Psychedelic Rock, von französischem Hip Hop zu experimenteller elektronischer Musik oder Soul und Indie-Pop – mich sprechen verschiedenste Aspekte unterschiedlicher Musikrichtungen an. Das mag die Nostalgie sein, ein toller Beat, Harmonien, das Grundgefühl eines Songs oder auch Text oder Thema.
Mein primäres Ziel ist, mit meinen Beiträgen einerseits aufstrebenden Musiker*innen im Rahmen von Interviews und Reportagen eine Plattform für ihre Gedanken und Ideen zu geben. Allerdings will ich auch versuchen, das übliche Frage-Antwort-Schema aufzubrechen, die Grenzen und Möglichkeiten der Formate auszuloten und experimentellere, individuellere Ansätze (auch mit Musiker*innen gemeinsam) zu entwickeln.
Lorenz Stöckler
Bevor ich den lieben langen Tag Musik an meinem Computer abspielte, 2000 geboren in der hügeligen, grünen Steiermark, fing mein Bezug zur Musik mit Klassikern wie den Beatles oder Dusty Springfield an, mit denen meine Eltern mich häppchenweise fütterten. Mit 15 Lenzen, inzwischen zum leidenschaftlichen Computerspieler herangewachsen, kamen dann wie in vielen guten Geschichten, die Wikinger. So entdeckte ich über einen Waräger-affinen Online Clan die finnischen Power Metaller von Turisas. Zufällig, indem ich auf einen Link klickte. Wer weiß, vielleicht wäre ich heute ein zumindest in einigen Aspekten gänzlich anderer Mensch hätte ich das nicht getan. Das es Bands gibt, die über Geschichte singen, eine meiner weiteren großen Leidenschaften, und das mit der Brachialität eines Lord Of The Rings-Soundtracks (Reprise 2003), war mir unvorstellbar. Und ich wollte mehr. Neue Welten öffneten sich, es kam die Erkenntnis, dass Heavy Metal keine Musik für soziale Freaks, Punk teils etwas völlig anderes ist als Metal, es doch tatsächlich nach 2000 noch gute Popmusik gibt und KISS weitaus weniger hart sind als ihr Ruf. Keine zwei Wochen später fiel dann die schicksalhafte, besiegelnde Entscheidung: Ich lasse mir die Haare wachsen.
Natürlich blieb es nicht nur bei Rock und Metal. Und weil gerade über den Tellerrand schauen neue Musik entdecken lässt, weil die Arbeit bei einem Musikmagazin mir das ermöglicht und, wenn man schon viel zu viel über das neue Lieblingsalbum nachdenkt, man das am besten gleich produktiv zu digitalem Papier bringt, freut es mich bei wolfgang mitzuarbeiten.
Honorable Mention: ABBA Best of – weil’s manchmals sein muss.
Max Bell
Philip Svajda
Holo, liebe Leute! Ich bin Philip und komme aus Wien, der Welthauptstadt der Musik. Kein Wunder also, dass ich mich wahnsinnig gerne mit Musik beschäftige. Klassiker wie Mozart, Beethoven und Schubert lege ich mir zwar auch gerne mal auf, aber mein Herz schlägt vor allem für Rock und Metal. Ich bin dank meines Vaters mit Bands wie Deep Purple, Iron Maiden und Led Zeppelin aufgewachsen, weshalb ich stark im klassischen Heavy Metal und Hard Rock verwurzelt bin. Allerdings habe ich mich mit der Zeit durch viele Genres gekostet, um festzustellen, dass es im breiten Spektrum des Metal und darüber hinaus unglaublich viele, gute Bands gibt, die meinen Geschmack treffen. Ich könnte ewig lange Listen schreiben mit Bands, die ich gerne höre (auf Spotify folge ich etwas über 200 Künstler*innen), aber im Endeffekt komme ich immer wieder auf dieselben 20-30 Bands und Solokünstler*innen zurück, von denen meine Top-Ten-Liste einen guten Auszug bildet. Neben Hard Rock und Heavy Metal bin ich vor allem ein Progressive- und Power-Metal-Fan, aber auch Alternative, Doom, Folk, Melodeath, Symphonic, Thrash und ein bisschen Metalcore höre ich gerne. Hin und wieder schnupper ich aber auch in die Gefilde anderer Stilrichtungen wie Blues, Funk, Jazz, Reggae und (Neo-) Rockabilly. Außerdem, um den leidlich wenigen Genrebezeichnungen noch eins draufzusetzen, bin ich auch noch ein AOR-Fan (Toto, Foreigner, Journey etc.).
Um auf den Punkt zu kommen, ist es einfach mein Wunsch, meine große Leidenschaft für Musik mit den wolfgang-Leser*innen zu teilen und diesen (zumindest dort, wo ich mich auskenne) eine Orientierungshilfe in den Untiefen der heutigen Musikwelt, mit ihren unzähligen Künstler*innen, Alben, EPs, Singles usw., zu bieten.
Regina Montes de Oca Molina
Since I was a child, my life has been pretty much surrounded by music; coming from a Spanish-refugees-turned-Mexican household, there were always plenty of people at home and each member of my family contributed to the building of my open mind with their different tastes.
My grandfather was -and remains up to this day- my greatest musical influence. He got me into stuff such as Hard Rock and Blues, as well as all kinds of Metal, but also into Kirtan and Throat Singing. I can also thank him for teaching me that music can be a vehicle for learning and for bringing people together. My grandmother, on the other hand, is responsible for my undying love for Jazz, as she would sit with me for hours on end, listening to the classics of the genre.
As I grew up and got into the troubled stage that is puberty, I turned to the one person that I dearly looked up to already, which was my uncle, and started picking up things from his own musical repertoire. To him I owe my introduction to a genre that remains one of my favourites to this day: Post-Punk. It was during this stage that I familiarised myself with the gloomy sounds of Joy Division, that gladly encompassed my teenage angst. Needless to say, Jangle Pop was also a big part of that. He’s also responsible for plenty of my earliest musical memories, which includes the both of us sitting by a huge stereo while playing the cassettes that we ourselves had recorded from the radio, or listening to a bootleg version of Rammstein’s Sehnsucht (Motor Records, 1997).
It was around that same age that I got into Punk all by myself, because it was charged with all the raw and angry energy that I was also experiencing. Bands such as Minor Threat, The Clash and Die Toten Hosen were the main flavours of my youth that drove me to more „aggressive“ genres. As I also got closer to my mother and aunt, the world of Grunge, Goth Rock and Industrial opened to me, as well as one I hadn’t touched before, which was Pop.
Although as I grew up, I moved on from my punk stage, I ended up gravitating towards most derivatives of it (Folk-Punk and Post-Punk, mostly) and Black Metal, as well as Hip Hop and plenty of experimental stuff.
All in all, music remains one of the mediums that more easily manages to spark emotions in me, for which it still plays a vital role in my life.
Teresa Dvoracek
Hi there! I’m Teresa, 24 years old, born and raised in the suburbs of Vienna. I was
always fascinated by underground music, tiny venues and stages that are in fact non-existent, with the lead singer standing almost beside you. Music is my everyday companion, either on my headphones or blasting through speakers. My favourite artists are mainly in the Indie/Pop/(German) Rock genre with some bits and pieces of Pop Punk/Post-Hardcore from my early teens.
Thomas Ranner
Musikalisch begonnen habe ich mit Iron Maiden, irgendwann in der Unterstufe kam Rammstein dazu. Und dann war ich mit ein paar Freunden ein erstes Mal am Nova Rock Festival und habe wirklich viele neue Bands kennengelernt. Auch heute noch lerne ich neue Bands meistens über Konzerte bzw. Konzertankündigungen kennen. Praktischerweise bin ich Konzertfotograf und kann so auch wirklich viele Konzerte besuchen. So habe ich bis heute über 300 Bands vor der Linse gehabt, inklusive persönlichen Highlights wie Iron Maiden, Metallica, Nightwish und Avenged Sevenfold. Besonders gerne höre (und fotografiere) ich zurzeit Symphonic Metal und Melodic Death Metal Bands.
