22-year-old Vienna-resident Wandl developed into one of the most progressive and interesting european producers in recent years. His longplay-debut „It’s All Good Tho“ brings his take on melodic vocals and experimental, bass driven instrumentals to the fore. His EPs “Milk”, “Soon” and his Affine-debut „Far Way Home“ stretch out his personal vision of brainfeeder-nerdism and state of the art bedroom-soul. On “It’s All Good Tho” he plays almost all the instruments, channels his vocals through machines, alienates and exposes them – and he’s not shy of monumental hooks.
But first things first: Already in his early teenage years Wandl started to experiment with music production software and wrote his first songs. Since then, with HipHop as a main reference point and inspired by Rap tunes, he has consistently pursued his musical vision to push the boundaries of musical genres. Over the years the St.-Pölten-born multi instrumentalist developed a picturesque language in his productions which are also in focus on his live shows with visual artist Clemens Haas.
After recording „Geld Leben“ with Crack Ignaz in 2015 – an album that Juice Magazine, All Good and Intro called one of the best Deutschrap-records of the decade – Wandl isolated himself and went back to his den. Being alone or at the studio of his labelmate, mentor, and guest on the album, Dorian Concept, he wrote songs on guitar, rhodes, violin and synth and sang cranky-beautiful sketches into his phone, that turn into post-R’n’B-gems. In 2016, in the middle of the production process of “It’s All Good Tho” the St.-Pölten-born multi instrumentalist temporarily moved to Hamburg to write the orchestration for the play “Der gestohlene Gott”. By day he worked on the theater staging, at night he recorded vocals and the grand piano in the massive, inspiring lobby. Throughout the three performances, in which he partly even improvised some of the sound design, Wandl learned a lot about intuition and dramatic composition.
And there’s more to come. Sky is the limit.