The Electronica of WÆLDER from Vienna and Berlin oscillates between Ambient, Post-Dubstep and Pop, it scrapes past weird Folk and LoFi and sounds so organic, one can almost hear it breathe. Their beats and synths build landscapes of rugged cliffs and mossy ground that are teeming and crawling – warm and damp, magical, peculiar and harmonic like life itself. There are obscure samples, voices, field recordings, as well as countless instruments...

WÆLDER work in different places, at different times. Nonetheless, they are a band. Jan Preissler from Berlin, handling guitars, bass, mandolin, piano, bagpipes and vocals, and Moritz Nahold from Vienna, classically trained on cello, saxophone and drums but responsible for synths, beats, soundscapes and noises on their album debut “Anachronie”, which was entirely made with Renoise. The two protagonist’s marked musicality is certainly one of the reasons making “Anachronie“ such an effortlessly floating listening experience. They play or have played in orchestras, jazz ensembles, stoner rock and punk bands and work apart from WÆLDER as musicians for theatre and film.

The vocals on “Anachronie“ are fragmented, pitched, layered and looped – deprived of familiar meanings, natural flow of language or even conclusive gender determination. WÆLDER realign them into androgynous- electroid evocations, faintly reminiscent of Tibetan mantras or shamanic healing songs –softly unsettling, hypnotic and embedded with the music just like another instrument. Yet, the vocals do onemore thing to these tracks: they transform the post-dubstep of WÆLDER into electronic pop songs. The sounds and melodies are catchy but queer and just like the vocals, they teeter on the brink between reality and dream, between science and evocation.