#waelder

TSH: Can you define what your latest album ‘Non Places’ means to you?

Moritz: For us, it feels like we totally achieved what we wanted to do with our second album. Very often you think something isn’t finished but you don’t know why exactly that is. Even though some songs are unfinished or seem to be unfinished, the whole record is complete and feels right for the time. We think it is possible to hear the making-process while listening to the record. We really enjoy that!

TSH: Are there certain images that come to mind when you think of this record?

Jan: I often associate colours with our music, more than images. ‘Non Places’ has a really strong blue in it.

Moritz: I don’t associate that many colours with music but I can still agree with the blue. Mostly I see the different rooms we recorded the music in. For example the track ‘Dybuk’ was recorded in a 900 year old church, which sits right next to a place where I grew up. Luckily I know the people who take care of the place and we got the keys from them. A very old out of tune pipe organ was recorded there. The image is still there because it was a very flashy moment.

TSH: What sort of sounds did you want to form to achieve certain feelings with this record?

Jan: It’s a trial and error situation until a sound makes sense in a context. The feeling becomes natural with the process, I think. Of course this creates certain feelings for us while listening but we like to leave the interpretation of the sounds to the listeners.

TSH: What sort of factors and life events are you inspired by for your music?

Moritz: I get a lot of inspiration by watching nerdy synthesizer YouTube tutorials but also when I go to concerts and see people perform. I am always interested in different approaches to playing music live, especially electronic music.

Jan: The fact that we live in different cities and don’t rehearse together in the same room at the same time, but still make the music work somehow is a big inspiration to me. It keeps the process interesting all the time.

TSH: What aims did you have in mind as you made the song ‘Iolanta’?

Jan: The aim mostly comes during the process when there are already a few things like rhythm and harmonies in place. Then we think about where all of this could be heading and how we can emphasise a feeling. For ‘Iolanta’ it was clear somehow that it has to be something that wants to break out all the time – like a climax which never really appears, only in a subtle way, or even like a David Lynch movie. You are frightened of something that is only happening in your head but it never really appears.

TSH: Also, tell us more about how you went about forming the song ‘Loss’…

Moritz: This song was one of the first tracks we did for this album. A vague structure for this song evolved two years ago and we performed it a little bit different then. The original idea focused on a heavy bass drone, which gets more intense over time and finishes in a simple change through different distortion phases.

TSH: How would you describe the feeling when you finish a song?

Jan: Great! Sometimes it is hard to finish a song. Because you have so many options, especially in electronic music. We sometimes discuss the sound of a very small noise for weeks...

Moritz: Finishing a song is definitely the best feeling. I have a really hard time signing something off. I think it’s much easier if there are more people involved because there is always someone who says it’s enough and it’s finished.

TSH: Do you look to use particular field recordings to add a human element to Wælder music?

Moritz: Field recordings definitely make something more organic and natural. It adds a special flavour, which we always enjoy. Electronic music can be very sterile, which can be a good thing of course but for us field recordings always connect you to a specific moment. It’s a snapshot in time, like an analog photo.

Jan: The field recordings used on ‘Non Places’ are mostly atmospheres. On the track ‘&found’ for example you can hear me practicing piano while the washing machine is running in the other room. We just thought that the ambience fitted really well into the song, coincidently the harmonies were fitting as well.

TSH: Being situated in Vienna, how does the city inspire your music?

Moritz: Vienna feels very inspiring right now. Many young promoters, labels, bands and DJs have evolved during the last few years and it feels very fertile to be a part of that somehow. It gives me the belief that this kind of music matters in a way.

TSH: What matters most when you perform live?

Jan: The sound system has to be good and well balanced. If the sound is shitty it is no fun for us and no fun for the audience.

Moritz: The sound plays a very important role, that’s true, but also an audience that is open and listens is key too. People who talk during concerts are the worst. If they don’t like the music or have the urge to share a story they may as well go outside, hang at a bar or whatever. I mean they are also ruining it for other people who might want to listen.

TSH: Which artists in recent times have you been really into?

Moritz: Amnesia Scanner.

Jan: Awesome Tapes from Africa and Father John Misty.

TSH: Outside of music, what are you passionate about?

Jan: I play in some other music projects and do a lot of theatre music, so there is always music besides the music. I am really into gender topics and feminism. Once everybody notices that feminism is not only about women but about everybody and everything, it will change the world one day.

Moritz: I like to solder synth modules and program weird effects but that’s also music related, so yeah I guess I don’t have other hobbies.

TSH: Finally, as you look ahead, what do you hope to achieve mostly with your music?

Jan: We are all in for the money. This is why we decided to do the music we do!

Moritz: World domination, haha!

Wælder - “Feder”