The story of T.Raumschmiere started with a German drummer aka Marco Haas who played the drums in different punk bands. When he lived in Berlin he started experimenting with other projects and finally set up his solo-project T.Raumschmiere. He worked with some famous artists (like Miss Kittin) and experimented with different influences; from techno to ambient to punk to IDM. The song “Monstertruckdriver” released on the album “Radio Blackout” (2003) became one of his greatest hits. He released an impressive number of EP’s, but still likes from time to time to unleash a full length album. T.Raumschmiere this year released his newest opus entitled “Schaukelstuhl” –on his own label Shitkatapult, revealing pure dreamy-ambient cuts next to more danceable pieces. One thing is for sure, T.Raumschmiere is a real sonic phenomenon!

(Courtesy by Inferno Sound Diaries)

Q: I’m always interested in the ‘roots’ of musicians and when I listen to your latest works “Heimat” and “Schaukelstuhl” it’s simply impossible to imagine you’ve been ever drummer in a punk band. So how would you analyze this evolution?  

Marco: I like (almost) all kinds of music. Even when I was the drummer of punk bands I listened to ambient music. For me that’s a normal thing. When you’re a musician you have to be a bit open-minded to evolve with your own style. “Schaukelstuhl” is just a little part of my personality.

Q: I’ve always experienced your work under the T.Raumschmiere moniker as a very eclectic and open-minded approach and that’s already what I experienced listening to “Schaukelstuhl”. What kind of work did you’d in mind and what has been the click to start composing this work?

Marco: I compose and produce non-stop. I’m not the kind of guy who says ‘ok, now I start working on an album and it has to be finished by day x’. It’s more like collecting ideas constantly and when I have enough I build a frame and a concept around it. During the process of this production I also wrote more harder songs, but I decided to stay in one direction, which I think makes it nicer to listen to the album in one shot.

Q: I get the feeling “Schaukelstuhl” is an album that can make me dance, but still relax and dream away; from dancefloor to cinematic experiences! How do you perceive this work now and can you give us some details about the writing process of this album?

Marco: This was exactly the idea of the album. You can either focus on the beat layers and dance or focus more on the ambient or background layers and trip away. For this album the writing process itself was very quick. Therefore I spent more time on post-production and details.

Q: Are you a perfectionist who’s never satisfied with some little details and for whom a song is never finished and can be always improved? How do you see yourself as musician/producer?

Marco: I wouldn’t say that I’m a perfectionist. I work pretty fast. And when I hear that an idea or a song works I achieve it. If I’m not satisfied with a song or an idea it goes straight into the trash and I start a new one. People who work on 4 tracks for six months either have too much time or too little ideas.

Q: “Schaukelstuhl” has been released again on your own label, Shitkatapult. I heard from different label owners -and of course artists, the Covid 19 pandemic has seriously affected their activities. What’s your perception and experience about it all as label owner and artist? How do you imagine the post-Covid 19 era for the music industry?

Marco: In 2018 we decided to do a sabbatical with Shitkatapult and focus on our publishing company Random Noize Musick. The sabbatical took 2 years 😉 and “Schaukelstuhl” is the first release since 2018. We act very carefully and decided to release the album only digitally. We will see how things develop and the then maybe make a physical version of it. I’m pretty confident that everything will go back to more or less ‘normal’ at some point. But this is a looong way and might take a few years.

Q: Covid 19 or not, physical releases are no longer selling and only interest collectors and some die-hard fans. You grew up with different formats such as cassette, vinyl and CD so what do you think about this (r)evolution? What are the pros and cons and how will things evolve?

Marco: It’s as you said. Physical releases are more or less collector’s items. I don’t like that, but I also can’t change it. We have to use the new technology and work with it in a way that we all are happy at the end of the day. This needs flexibility and an open mind. But as long as there’s vinyl I’ll buy it!

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: IDM, electro-ambient.

Format: Digital.

Background/Info: Marco Haas is back on track, unleashing six new songs from his T.Raumschmiere sonic brainchild. It’s more a mini-album format, which he released again on his own label Shitkatapult.

Content: “Schaukelstuhl”, which can be translated as ‘rocking chair’ is an album with two main sides. You at one side get some danceable cuts composed with the sophisticated approach of Marco Haas. Somewhat techno-driven, but closer to some IDM formats, these songs stand for the energetic part of the work. At the other side you get more ambient-driven cuts, which are carried by slow rhythmic.

+ + + : I personally prefer the danceable cuts of the work, which are mixing sound intelligence –featuring some industrial-like treatments, and danceable rhythms. “Edith” illustrates the composing skills of this Berliner based musician. I also have to mention “Isidora”, which next to the electro loops reveal exciting acoustic like sound treatments. That’s an aspect that also comes back in the rather ambient-orientated “Georgia”, where you’ll hear a kind of trumpet sound. It injects a cool jazzy touch to the work.

– – – : I’ve been less convince by “Klaus” and “Bela”, which are more into slow driven ambient cuts without a real climax.

Conclusion: T.Raumschmiere doesn’t repeat himself without reinventing his own sound. This artist covers a wide range of influences resulting in a modern and eclectic electro composition.

Best songs: “Edith”, “Isadora”, “Erich”.

Rate: (8).

Artist & Label: www.raumschmiere.com / www.facebook.com/t.raumschmiere

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Experimental, minimal-electronics, technoid, ambient.

Background/Info: Marco Haas better known as T.Raumschmiere is a real phenomenon in techno music. He got some recognition for his minimalistic and visionary sound approach. This new opus is also the first one he has released on Kompakt, on which he previously released a few 12”. “Heimat” is available on vinyl- and digital format.

Content: The work is characterized by the traditional minimal approach resulting in experimental treatments such as white noise and multiple sound effects. The tracks cover multiple genres, moving from an experimental-pop approach towards ambient passages. You also will notice a few groovier elements. “Heimat” features a few danceable cuts next to more ambient tracks filled with drama and melancholia.

+ + + : T.Raumschmiere has this little ‘plus’ other artists can only dream of. Haas is literally putting his sonic stamp on all of his work. The minimal sound approach reveals a truly passion for sound creation. “Heimat” is an album with multiple faces avoiding cheap and ‘commercial’ clichés. It remains visionary and without real compromises. Speaking for myself I fully enjoyed the somewhat symphonic arrangements on “Juli” and the minimalism of “Amina”.

– – – : I’m not sure “Heimat” will enter into history as T.Raumschmiere’s most famous and successful album. It’s a complex work, which needs multiple listening before you can really get into it. I’m missing the technoid element of this artist, which is definitely in the background.

Conclusion: “Heimat” is a new sonic experiment and a real voyage for all lovers of intelligent and sophisticated electronic music. It’s not the most successful work of T.Raumschmiere although it remains characterized by the familiar elements this artist has used to experiment with.

Best songs: “Juli”, “Amina”, “Wacker”.

Rate: (7).

Band: www.raumschmiere.com / www.facebook.com/t.raumschmiere

Label: www.kompakt.fm / www.facebook.com/KompaktRecords

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

While you still have to wait until May 19th to hear the brand new T.Raumschmiere 8-track album “Heimat”, a first video single has already been released: “Wacker”. You can view the video right below.

Berlin based Marco Haas (born 1975) is a punk techno DJ known by the stage name T.Raumschmiere. He has released 7 albums so far of aggressive electropop and has worked with notables such as Miss Kittin and Ellen Allien, and helped found the Shitkatapult record label. He is also partly responsible for the mid-2000s resurgence of the schaffel beat, a style in progressive electronic music in which the beat is shuffled hard. Often triplet eighths are used to create swinging rhythms.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

T.Raumschmiere is the electro-punk project of the German techno-producer Marco Haas. He runs his own label Shitkatapult and very recently released his latest album “T.Raumschmiere”.

SL: How long ago did you buy your first keyboard ever? Which technology did it use (MIDI, 3.5″ floppy disks,…) and do you still own it?

MH: The first machine I bought was a Roland MC-303 in 1996. It is based on samples of the 303, 808, 909 and Juno series. It had a sequencer so you could do complete tracks with it. I also had a distortion pedal and a flanger pedal. The first keyboard I bought was a Moog Polymoog which I got very very cheap from a music store in my area that closed down and kicked everything out. I do not own both of them anymore because after a while I used all the functions and sounds and wanted to hear something new. Also, if I’d keep every machine my studio would explode right now. So I sell old shit to get new one …

SL: Which computer(s) and software do you currently use in your (home)studio?

MH: I use a 27-inch i-Mac and Cubase with one RME Fireface 800, and 2 RME Hammerfalls connected to it. Since I use the computer mainly for multitrack recording that’s ok for me. Even on mix jobs it’s still ok. I have some analog outboard connected.

SL: Can you describe all synth gear and hardware you use nowadays? Which piece is the most valuable for you?

MH: That would be a long list. As mentioned above my studio is packed with shit and it changes all the time. My most valuable pieces at the moment would be the Korg MS-10, the Vermona Per4mer, the Chaos-Engine, the Koma RH301 and the Dave Smith Poly Evolver.

SL: When performing live, which keyboards and software do you use on stage?

MH: It depends on with what project I perform live. When I do T.Raumschmiere rave sessions I mainly use an MPC1000, 3 Kaosspads, 1-2 Monotrons and a microphone. When I do T.Raumschmiere ambient shows I use Ableton Live and a Korg MS20 Mini or a Monotribe.

SL: According to your opinion, which are the most legendary synths ever produced?

MH: Well I guess that’s a question of taste and how you want it to sound in the end. And it doesn’t have to be vintage to sound good. For example I’m a huge fan of the Memorymoog, the MS-10, the Juno 60. But I also love the Dave Smith Poly Evolver, the Vermona Per4mer or the Dreadbox Erebus.

SL: And which are according to you the biggest synth artists/bands ever?

MH: Hm, at the moment I highly celebrate Esplendor Geométrico. But there are so many good synth bands out there …

SL: Share with us the worst case scenario that ever happened to you live on stage or in the studio!

MH: Sometimes I wonder why there never was anything bad happening to me or my equipment on stage since I jump around like a maniac and pull water (and other liquids) everywhere. Really, I must be a lucky bastard (knock on wood). I really can’t remember a major fuck up. Or I was just to drunk to care and just went on with the show and what was left. Improvisation is part of the job.

SL: The unavoidable question: do you prefer analog or digital synths more? And what’s your opinion about the virtual analog concept?

MH: To be honest: I couldn’t care less. If it sounds good I don’t give a sh** where it comes from … analog, digital, a cows fart … who cares … Most important thing is that you have a good song/idea. If you write a bad song/track you can have the best analog and/or digital equipment in the universe and it would still suck.

SL: Isn’t the digital technology evolving too quick and becoming too complicated for artists nowadays?

MH: It is. But you don’t have to follow that, right? I mean come on, we’re not slaves of the equipment/software industry.

SL: How will the future of creating electronic music look like?

MH: I have no fuckin clue.