Marc Gundermann Releases Stunning Debut EP 'Konsole' and Connects with Us to Reveal the Story Behind His Masterpiece
- STAFF
- Aug 2
- 7 min read
Updated: Aug 4
By: Staff
Marc Gundermann’s 'Konsole' is a sonic masterpiece that redefines electronic music with unparalleled depth and creativity.
Emerging from Berlin, Gundermann’s 'Konsole' invites listeners into a world of vivid textures, atmospheric depth, and introspective sound. This is not just another electronic release; it’s an immersive journey that blends experimental grooves with ambient landscapes, creating a sound that feels both intimate and expansive. After years of collaborating as a multi-instrumentalist with artists like Christin Nichols, Sid Vision, and Max Paul Maria, Gundermann steps into the spotlight with a deeply personal statement of his own.
Konsole is a sonic diary, an exploration of dualities: digital vs. organic, solitude vs. movement, chaos vs. control. But it’s not only the music that stands out; the creative process itself, influenced by personal experiences, showcases Gundermann’s dedication to sound as emotional expression. With analog gear and modular synths at the core, his work bridges the past and future, honoring influences while carving out a distinct, original sound.
We spoke with Marc about the journey behind 'Konsole,' his creative process, and the personal experiences that shaped this groundbreaking release.
Get ready to explore the creative forces that defined his debut.
Here’s how it went:
Begin Interview:
Hello Marc Gundermann, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more intrigued to get a deeper look into both your brand and your personal and professional inspirations.
Q. For the fans meeting you for the first time, is Marc Gundermann your given name or a stage name? What inspired you to choose that for your artist persona?
A. I’m simply following a long tradition of artists who release quirky and eccentric music under their real names.
Q. We listened and loved the EP. It has such depth and texture, captivating us with every moment. Each track pulls us in, revealing layers we've never experienced before. Can you tell us how this feels to you, and what emotions you’re navigating as you unravel this brilliance? It’s almost as if what you're creating is a transfer of energy, an intricate story conveyed more powerfully through sound than words could ever express. How do you experience this process?
A. Thank you very much. First of all, the music has to trigger something in me. Is it beautiful? Unsettling? Does it give me goosebumps or even evoke disgust? If I feel something, I'm sure the emotion behind it will reach the listener. To be honest: I try to trick myself by not thinking too much when I make music.
Q. If you had to offer a single sentence to draw someone into the essence of this album, what would you say to spark curiosity without revealing too much, leaving them wanting to unravel its meaning for themselves?
A. Imagine is a place of mystery.
Q. You’ve mentioned your love for analog gear and modular synths. How did these tools shape the sound and mood of Konsole, and what do they allow you to achieve that digital tools can’t?
A. Unlike plug-ins and working in your DAW, which are great, great tools, synthesizer, pianos and guitars feel alive. I can be more impulsive and spontaneous in the creative process and when it comes to producing music, it’s good to take a few steps back and not having hands on something. For instance: working with a loop station (like on „Lost Highway“) makes you super limited in what you want to keep and what to ditch. It’s about making decisions. So in that sense, working with limited equipment made it easier for me. Otherwise I’d be still tweaking on tracks.
Q. The death of David Lynch seemed to have had a strong emotional impact on you. How did this event influence the creation of Konsole and what role does personal loss play in the creative process for you?
A. The work of David Lynch has been with me for most of my life—shaping and influencing me perhaps more deeply than anyone else, with the possible exception of Trent Reznor or Brian Eno. And while I was focused on recording & touring with friends of mine, these strange pieces somehow emerged along the way, working alone for hours alone in my home studio. The sudden passing of David Lynch made me go back to some tracks from 2020 - 2024 and suddenly I had the frame to work within.
Q. You’ve spoken about spending long hours alone in the studio. What does solitude bring to your creative process? Is it a space for introspection, or more about freedom to experiment without external influence?
A. That’s a really good question. Working alone takes a lot of strength and energy, because creating a vibe for a song is definitely easier when you're in a band. But producing and mixing are often much easier to do solo. A good example: for the band Niki Neun, I once produced a short interlude for their last album—though it didn’t end up on the record. I spent an entire weekend just working on the loops. That kind of deep focus wouldn’t have been possible with two people in the room.
Q. Your EP features field recordings from various locations like Berlin, Santa Barbara and Amsterdam. How do these locations influence the mood of each track, and do you have a favorite sound or place that deeply impacted your work?
A. At one point during the production, I had the idea to incorporate field recordings from Berlin, where I live. That eventually expanded into recordings from several cities. I’m not going to say where the samples are hidden. A lot of today’s ambient music feels too glossy, too polished to me—and I was determined to make a dirtier version of it. And dirt is, after all and unfortunately a part of big cities. Though I have to admit—Amsterdam never really felt that dirty to me.
My favorite sound? Hm... another good question. I love the sound of birds.
Q. How has the underground energy of Berlin influenced Konsole? Can you describe how the city’s vibe informs the more experimental elements of your music?
A. That’s a hard question to answer, since I’ve never lived anywhere outside of Berlin. I have to say, it was impossible to escape the influence of electronic music. It was always everywhere, so maybe that had some influence.
Q. You’ve described Konsole as a sonic diary. How much of the personal experience you went through during the creation process is embedded in the music itself, and what do you hope listeners will take away from it?
A. I think the diary analogy really only makes sense to me. But it's not that important anyway.
The pieces were part of a process of becoming, with no known goal. During the pandemic, my own mental health took priority over finishing an album or project. In retrospect, everything feels distorted. Was that really five years? That scattered, aimless feeling… to me, it all went into the music somehow.
Q. After years of working behind the scenes as a collaborator and producer, stepping into the solo spotlight with Konsole must have felt like a shift. What did you learn about yourself as an artist during this transition?
A. I have the incredible privilege of working with such strong artists and talented musicians who work so hard on themselves, their vision, and their expression — it inevitably inspires me. Just do it! Let go. Allow the fear. Be brave. See what happens. At the same time, I also had to be honest with myself: "What do I have to say? What if I don’t like my own music?" Uncomfortable. Glenn Frey (a founding member of the Eagles) once said — and I’m paraphrasing here — that your first 100 songs might just be trash. I can tell you: I’ve probably written 150 trash songs.
Q. You’ve expressed a feeling of creative freedom with this release. Does this sense of liberation influence the direction of your future projects? What do you envision coming next now that Konsole has set the stage for your solo work?
A. I’m driven to explore and release as much as I can. There’s a fearlessness in me now—something I’ve never known before. It’s time to let everything pour out, unfiltered and unrestrained.
Q. You list some amazing influences from musical and theatrical figures. When your music is recognized worldwide, what would you love to have as an interaction with one of these greats? Would it be over dinner, in a work or creative environment, and what would your most desired question, for them to ask you, be?
A. If it’s meant to unfold, it will. If not, no big deal.
Q. When making music, is it a release or a build of emotion that requires a release after your creative phase has ended?
A. Writing, producing, and releasing music are very different things. Writing is always fun. Producing can be intensely exciting, sometimes almost hypnotic. When those two come together, it’s nearly my favorite thing to do in life. Releasing music, though—at least for me—has always been haunted by doubt, second-guessing, and uncertainty. My finger, at least in the past, hovered over the delete key. Putting out a song or an album always ends up feeling like relief. And pride.
Q. Your vision and perspective feel grand. You travel, you create, and you are trained at high levels, all while consuming critically acclaimed works. What one-sentence legacy would you like to leave that future generations will read and feel inspired to create in your honor?
A. I don’t know.
Q. And finally, we can't thank you enough for sharing these intimate details! So, what's next? Can you give us the inside scoop on your upcoming projects and what fans should be excited about? We'd love to be the first to share the news!
A. Only time will tell.
Marc Gundermann, thank you so much, we appreciate you taking the time to talk to us!
End Interview
We’re happy to have shared Marc Gundermann’s exciting journey with you and uncovered such inspiring insights about their creative process.
