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Waldeck Biography

Last updated: 05/12/2004 02:58:42 AM

Klaus Waldeck´s musical career began at the age of six with piano lessons, and ended abruptly when at the age of fifteen he destroyed an expensive Bechstein in an attempt to re-wire its innards.

Not much is known about the following period except that the ensuing lawsuit sprouted Waldeck´s interestin Law, and by the time his musical career resumed in earnest he was a practicing copyright lawyer. He remembers the fateful day when his musical calling resurfaced. "It was during the time when George Harrison got sued for ripping off an old motown tune" Waldeck recounts; "I realised the way forward was to work a melody until it didn´t belong to anyone anymore."

At one point, Waldeck and his massive collection of electronic equipment moved to England. Ending up focused on music more than the legal research he had intended to pursue, Waldeck mixed tracks for house and techno labels such as Chocis Chewns and generally got involved with Londons triphop scene. "It was an interesting time and it opened my eyes to how the whole industry works," he recalls.

In London Waldeck also met his vocal counterparts, soulful ex-Incognito singer Joy Malcolm and Brian Amos, who has worked on notable projects such as Pressure Drop. Both singers have been working with Waldeck on his debut album and both will be featured on the upcoming album as well.

In 1996, Waldeck returned to Vienna and produced the Northern Lights EP, quickly gaining international attention through its transcendent, delirious cover of Aquarius. A successful full length album, Balance of The Force, followed in 1998. Later that year, Balance of The Force - Remixed was released, featuring –amongst others - remixes by Thievery Corporation, Rockers Hi Fi and Fauna Flash.

Unlike some electronic artists, Waldeck is strongly focused on live performance, and a major international tour in support of his upcoming album is scheduled for 2001. "We found a way to transfer the basic concept of electronic music to stage, which worked very well on our tour in 1999," he explains. "We use projections and effects to make it as live as possible. We also have a sofa and a table lamp. The sofa is for sitting on and the lamp provides illumination. Sometimes I bring magazines. The true stage presence of electronic music should be like a doctor´s