A shimmering, molten wax seems to flow into a colourful coral reef, as if from a distant planet, penetrated by metallic, shimmering forms reminiscent of a tropical bird, a spaceship or a flickering flame. Under the name ‘kirschbluetenimwind’, emerging artist Ludwig Wandinger creates futuristic collages which he then transforms into 3D models. The digital sculptor is actually a drummer and producer by trade, and his multimedia artworks visually reflect the sound of his music. “Funnily enough, the way I create my images is exactly the same as how I make music. I spend all day photographing my surroundings, capturing whatever inspires me – from graffiti to light reflections,” he explains. “My images are composed of visual elements, analogue drawings and textures collected from various places and times. Over the years, I’ve built up a sound library of sounds that I’ve either synthesised or recorded myself.” Wandinger’s tracks incorporate elements from all sorts of sessions, plug-ins and effects. They are as varied and experimental as his visuals.

Wild Peace and Music from Outer Space

You can experience this on his latest album Is Peace Wild? which was released in  October 2024, on Light Years. The nine tracks take the listener a metre above the ground, or just a heartbeat away from dissociation. On the title track, poet and activist Yves B. Golden’s voice drifts over Wandinger’s gently soothing arpeggios, delivering the words: „Balloons and birds delight in the flow of air between rooms“. In this air between rooms, Wandinger shapes hypnotic sound sculptures out of unconventional pads and floating music box synths. On the ethereal Vien, Wandinger intersperses metallic crashes and gritty bass with elegiac organ tones, while reflective notes shimmer on the horizon. Xhausted Form oscillates between light and shadow: almost sacred chords are punctuated by dissonant cracks and disturbing feedback wails. For nearly 50 years, the Voyager spacecraft’s two Golden Records have been floating through space on vinyl, containing musical examples from Earth – Is Peace Wild? sounds like the answer from a distant galaxy. Music from aliens. Vocalist Evita Manji also contributes to the album’s sublime atmosphere. “It’s almost like they’re sharing a bedtime story,” says Wandinger of working with the two artist friends. For the musician, Is Peace Wild? is his most personal work to date. His music reflects his journey of self-discovery, searching for answers and perhaps peace – a quest influenced by a draining relationship. He worked on the tracks in hotel rooms, squeezed in between a series of chaotic live shows. And there were and are many of these in Ludwig Wandinger’s life.

From Weilheim into the Wide World

As a sought-after drummer, he has shared the stage with The Notwist, Kianí del Valle, Grischa Lichtenberger, Brodinski and Female Pentimento. An engagement with the Berliner Ensemble is also part of his extensive portfolio. His work has taken him beyond the borders of Europe to countries such as China, Ecuador, Vietnam, Malaysia and Indonesia. He has performed at Jazz Fest Berlin, Moers Festival, Magnet Festival, A l’Arme Festival and Reykjavik Jazz Festival. Wandinger has also exhibited his work at the Neue Nationalgalerie and the Berlinische Galerie, both in Berlin. 

His career is not surprising given his background. His passion for music began in a musical household in the small Bavarian town of Weilheim, where he was born in 1995. He taught himself piano and guitar before discovering the drums. Once he started taking lessons, he progressed so quickly that he was accepted as a young student at the University of Music and Performing Arts in Munich after auditioning at the age of 16. From then on, he travelled to the city every fortnight to study the instrument. In between, he spent every free moment and break practising in his school’s rehearsal rooms with such dedication that his classmates began to wonder if Ludwig was still at school. “I am still grateful for the music programme at my school. I had the opportunity to jam, experiment and hone my skills from an early age,” he says. From a young age, he played in various band constellations, including Radiohead-influenced rock bands and a big band. In 2016 and 2017, he was a member of the Bundesjazzorchester (a prestigious, state-funded ensemble in Germany made up of young, exceptionally talented jazz musicians). At the University of Music and Performing Arts in Munich, he was always one of the youngest in the student bands, even accompanying his fellow students on drums for their master’s recitals at the age of 17. After school, travelling the world, working, maybe do work and travel in Australia? Unlike his friends, Wandinger had no desire to go anywhere but home – after all, that’s where his drums were. For an entire year, his life was consumed by practising from dawn to dusk. You can feel the passion when he talks about it.

Between ‘School of Rock’ and Jazz

Eventually, Wandinger enrolled in a bachelor’s programme at the Jazz Institute in Berlin. The decision between rock, pop and jazz was not an easy one. A key influence on his choice was the 2003 comedy ‘School of Rock’, starring Jack Black. “I absolutely loved that film when I was 13, and through it I discovered all those classic rock hits. I listened to a lot of Led Zeppelin, loved The Ramones and Nirvana too. I love loud music. I see myself as a drummer who understands the essence of jazz and improvisation, but tries to bring in the energy of a rock drummer. “There is something electrifying about unleashing yourself on the drums at a rock concert and getting the whole crowd involved,” he says. “When I was studying jazz, it really frustrated me when people would say ‘you’re playing too loud’ – I was told that so many times.” I like to play softly with my fingertips, but I also want real dynamics in a performance – highs and lows, lots of energy. I love to push people. For me, live music isn’t just about hearing the sound, it’s about feeling it physically. The bass going through your body like a wave of warmth. A lot of shows are often too quiet for me – I love it when the music vibrates in my body.” 

His love of Radiohead took him from Kid A to Aphex Twin and Björk, igniting a passion for abstract textures. Since then, he has immersed himself in the world of electronic music alongside jazz, speaking its language and breathing its air. He rolls up his sleeve to reveal a tattoo of British producer SOPHIE: her signature is inked on his left forearm. SOPHIE’s boundary-pushing style and experimental sound design were groundbreaking for both electronic music and pop, bridging the gap between mainstream, underground and avant-garde. Tragically, she passed away at the age of 34 following a fall, but she remains unforgettable to the scene. “SOPHIE was a huge influence on my music.” She showed me a way to be extremely experimental while not being afraid to express real emotions and connect with people,” he says.

Exploring Boundaries and Genres

Someone with such a deep interest and expertise in different genres brings exactly the kind of versatility that defines Monheim Triennale’s signature artists. “I’m really looking forward to seeing my band, Atelic Halo, in Monheim – at first glance we might seem like an eclectic mix,” he says. “I have become good at quickly picking up on the musical languages of the artists.” For me, this festival is an uncompromising exchange and a celebration of the art of improvisation”, says Wandinger. One artist who has caught his attention is Peter Evans, trumpeter, bandleader and one of the leading voices in solo trumpet music. “I am really looking forward to having Peter Evans on board for my solo project. His concert in Berlin eight years ago was definitely one of the top five experiences of my life,” says Wandinger enthusiastically. Evans performed there with his quintet. “There were transcendental moments when you just couldn’t believe what was happening on stage. I love it when artists push boundaries when they go to extremes. When I play solo, I also try to push the boundaries, for example by mixing cold, harsh sounds with something warm and peaceful. I find it very human and beautiful to be able to convey a wide range of emotions through my music.” He adds: “There are moments on many jazz records when I think: I’d like to make a whole album just of that one mood! Often the music jumps around so quickly that it’s hard to fully enjoy it as a listener.”

Atelic Verbs and Halos

Extreme sonic art is what you can expect from his signature project, Atelic Halo: as unpredictable as it is beautiful, as overwhelming as it is serene. Together with his favourite collaborators – Luka Aron, Elvin Brandhi, Rian Treanor and Yves B. Golden – Wandinger aims to push the boundaries between electronics and acoustics, as well as the boundaries of time itself. When does something begin and when does it end? The title itself offers a clue to this area of exploration: an ‘atelic verb’ describes states, processes or relationships that are not temporally bound or definable. It’s about the unfolding of an event. Examples of atelic verbs are ‘to be’, ‘to dream’, and ‘to bloom’. Wandinger spent a lot of time finding a name for his project that was both open-ended and meaningful. The ‘Halo’ has a clear political dimension for him. “I have been interested in political imagery for a long time. The masks have become more obviously distorted. You see more clearly who is guilty and who is innocent. That hypocrisy is something I can’t stand. I’m often frustrated and angry, and I try to stir things up in my music – hopefully in a hopeful way.” He avoids a traditional stage setup, as well as the expectation that the audience should sit still in their seats. “We will play on the floor and the audience will be free to move around the room,” says Wandinger, outlining his plans as a signature artist. To his delight, Peter Evans will be a special guest at the end of the concert.

Crackling Foil and Music from the Bathroom Fan

It’s clear that Wandinger has a playful approach to music, and for him the drums are a sonic playground. The drums and cymbals are not simply played according to a plan, but the instrument becomes part of an environment that Wandinger incorporates into his music-making. It could be a crackling piece of foil, or a water bottle integrated into the drum set. “As a solo drummer, I’m not particularly interested in playing a drum kit that sounds like a drum kit. I enjoy having objects around that allow me to create interesting sounds in a creative way. I’ve stopped thinking in categories like, ‘a snare is an instrument, but a water bottle isn’t.’ To me, a piece of foil is as much an instrument as a drum. Both make sound. And if it sounds weird, it often feels really good to me,” says Wandinger.

Sad Thirds and Funny Sessions

The whole world is a sonic playground for this experimental producer. He’s been known to spend hours in a hotel room recording the sound of the bathroom fan – “because it was playing a drone, this deep, melancholy third – it sounded absolutely beautiful!” Layering additional sounds over this recording, he quickly created what he felt was the perfect track. A dedicated Ableton tinkerer, he obsessively explores plug-ins, tools, and effects. “I went through long periods of manically trying to figure out how artists like Flying Lotus or ARCA create their sounds, trying to replicate them. Of course, I never quite got it right, but I learned a lot and gradually found my own voice. I’m always trying to create sounds that I haven’t heard before,” he says.