wittgenstein


That idea of repetition appears throughout your work. Did clas- sical music accidentally prepare you for electronic music?


“Completely.”


Rather than mentioning Beetho- ven or Chopin, he immediately re- ferences Steve Reich.


“Performing Piano Phase at school changed everything for me. Two pianos repeating almost identi- cal phrases while one slowly shifts against the other. Some people probably found it frustrating. I found it hypnotic.”


That performance became less of an ending than a beginning.


“It was probably the first time I experienced minimalism. Piano taught me emotion. Drums taught me movement. Jazz, bossa nova and film music taught me that completely different ideas can exist together. Even today I don’t think about tracks. I think about narratives.”


You’ve moved comfortably be- tween peak-time clubs and liste- ning bars. Are they really two di- fferent disciplines?


“Absolutely.”


“A club asks you to manage mo- mentum. You’re constantly rea- ding the room, deciding when to build tension and when to release it. Every decision happens instinc- tively.”


Listening bars, he argues, require almost the opposite.


“People aren’t there to escape into volume. They’re there to pay at- tention. Every transition matters because every detail is exposed.”


The difference, however, isn’t te- chnical.


“Both environments remind you that music is never one-way communication. The audience is shaping the experience just as much as the DJ.”


Munich often exists in Berlin’s shadow. Why do you think the city deserves more recognition?


He smiles.


“People forget what happened here.”


The city that once housed Giorgio Moroder’s legendary


Musicland


Studios continues to quietly culti- vate one of Germany’s healthiest independent ecosystems.


“You have labels like Ilian Tape and Public Possession, shops like Riviera Records, spaces like LE- GAL. None of these projects exist because they’re fashionable. They exist because people genuinely care.”


Despite increasing economic pressure, he sees optimism.


“What’s special isn’t simply the music. It’s the openness. People move naturally between clubs, lis- tening bars and community spa- ces. That curiosity keeps the sce- ne alive.”


Your debut EP, Deep Drive, feels more interested in atmosphere than club functionality. Was that intentional?


“Every track begins with a feeling.” Not a kick drum. Not a bassline.


“Usually it’s connected to a place, a conversation or a memory.”


The three-track EP draws heavi- ly from Ron Trent’s philosophy of creating music for the mind, body and soul.


“I hope people don’t only hear the- se tracks inside clubs. I hope they sit down with them, return to them and discover something different each time.”


Electronic music moves faster than ever. Algorithms reward visi- bility more than patience. How do you protect your own identity?


Before answering, he quotes Chuck Roberts.


“House music is a universal lan- guage.”


For Wittgenstein, those words re- main less a slogan than a respon- sibility.


“Authenticity begins with respec- ting where music comes from. Its history, its communities, its cul- ture.”


He doesn’t reject evolution. Quite the opposite.


“You have to keep changing. But trends disappear incredibly quic- kly. I’d rather spend years building something that still feels honest a decade from now than chase so- mething designed to last a sea- son.”


As his profile continues to grow through new releases, internatio- nal bookings and after his fresh debut at UNUM Festival, it beco- mes clear that Wittgenstein isn’t interested in becoming louder than everyone else.


He’s more interested in making people listen.


045


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52