Stefan Redelsteiner is a key figure in the newer austrian music scene.Before he became a manager of the band Wanda, he announced the singer with his label problem bear Records, who calls himself “the Nino from Vienna”. With the musician herwig “fuzzman” Zamernik, Redelsteiner operates the Vienna Lotterlabel, in which Voodoo Jürgens is also under contract. Gerhard Stöger’s Redelsteiner biography “The Problem Bear” is now published in the publisher of the “Falter” city magazine. Time for an interim balance.
The Nino from Vienna, Voodoo Jürgens and Wanda have little in common with the exception of the dialect. What did you convince you?
I believed in all three of the music. Problemberries Records was not a business, we just wanted to make cool music. At the Nino there were a few coincidences that brought him out of the unknown indie scene. Voodoo was more effective from the start, its emphasized Viennese species is very popular in Austria. At Wanda it was lucky that her mainstream suitability met my interest in music. Marco Wanda just has a pop gene,so the success was inevitable.
Did you no? Redelsteiner’s label, Problembär Records, was born out of a desire to make cool music, not just make money.
They don’t like the sticker “Austropop”.
I cannot do a lot with the old or the new Austropop,except with the bands with which I have worked with.
Not even Felix Kramer or Anna Mabo?
I think the two are very good, but it’s not for me. It is also arduous to explain why a spaghetti carbonara or penne arrabbiata taste better.
Do you have to be the right pasta?
I just wanted to distance myself from my origin from the Vienna Workers’ District Floridsdorf. In the book, it looks a little like a billing with my childhood. The Austropop is a symbol for this. But I am also not a big fan of Austrian films such as “Mother’s Day” or “India”. In truth, of course, I’m a product of all of this.
The “grind” as a concept of success
In Germany, Nino, Voodoo and Wanda are popular, touring regularly. Why is Austrian music so successful in this country?
- Redelsteiner distances himself from the “Austropop” label, finding its symbolism limiting, despite his roots.
The praise from Germany was helpful to be taken seriously
Redelsteiner attributes the success of Austrian artists in Germany to several factors.He mentions that initial positive reception from Germany helped them gain traction. Though, he also credits the appeal of the bands’ unique musical styles, coupled with effective promotion and, in the case of Wanda, a natural “pop gene.”
What specific elements contribute to Austrian music’s success in Germany? Redelsteiner highlights the importance of early positive feedback from the German media. He adds other factors like the bands’ distinctive musical styles. He also credits solid promotional strategies for boosting their popularity.
Redelsteiner’s approach to artist management also plays a crucial role. He has cultivated a “cool music” ethos over a purely commercial one, as reflected in Problembär Records’ beginnings. This artistic focus appears to resonate with audiences. The distinct Viennese identity of Voodoo Jürgens, along with Marco Wanda’s knack for pop melodies, further solidify the appeal with audiences in Germany.
The shift in the music scene, and the move toward broader audiences isn’t without its challenges. Redelsteiner’s avoidance of the “Austropop” label reveals a desire to avoid the genre’s potentially limiting associations. Though, the inherent difficulty in defining and categorizing musical genres persists. Redelsteiner’s views suggest a delicate balance must be struck between staying true to artistic vision and the practicalities of a competitive music market.
