Philipp Stolberg: The ‘Monday Is OK’ Mix

Let’s get into this week’s mixtape and find out a bit more about Philipp.

Listen and read the interview below:

Who are you:

Hi, I’m Philipp, a 28-year-old German-Swiss product manager.

Where are you:

I live in Zurich.

What are you:

Just your friendly insurance clerk from next door! Honestly, I tried giving a serious answer to this question, but it came off sounding a bit too dorky (think existentialist and stoic vibes). So, I’ll leave the labeling to others.

Tell us about the Monday mixtape you’ve put together for us:

This mix is a collection of tracks by artists I admire. It feels sculptural to me—its minimalism invites you to pay attention to texture, space, and subtle changes. At the same time it does not ask for your attention but provides a canvas to whatever you are doing.

If it were to be drawn, what would it look like?

It would resemble an Andrew Wyeth painting, probably Pentecost.

If it were a food, what would it be?

It would be a pomegranate.

What would be the ideal setting to listen to the mix?

Strolling around Lisbon late at night.

What should we be wearing?

A long coat and gaucho pants.

Where was it recorded?

In a remote mountain hut over New Year’s.

How do you feel about Mondays in general, excited…or?

Nothing but flourishing, blooming, being vital, living the dream…

…right, but Mondays are about restarting routines and thats healthy—as long as you break them often enough.

Who got you hooked on electronic music?

That must have been Paul Kalkbrenner. Like many of my generation, his music was a gateway. I remember making iTunes Store wish lists, with Paul Kalkbrenner’s Aaron sitting there for ages. I found it odd for being so repetitive and without any lyrics, yet fascinating. I kept coming back to it until I finally bought it and loaded it onto my iPod Nano.

Who would you say are your biggest influences…

To name a few: Robag Wruhme, Apparat, Map.Ache, Francis Harris, Fennesz. If I had to name just one, it would be Nicolas Jaar. He released his first record at 17 and then put out Space Is Only Noise at 21, which was named Resident Advisor’s top album of 2011 (remember when RA did annual rankings?). All of this while studying comparative literature at Brown. It’s still one of my favorite albums, and I find it inspiring that he kept innovating and got weirder and weirder over time. This level of authenticity and boldness is admirable.

Many artists stop evolving once they achieve success or try to make their work more accessible to a larger audience, which is understandable given the risks of disappointing fans or the economic incentives to stick with a proven formula. Even so, I deeply respect those who move forward and refuse to get stuck in their legacy.

and what are you hoping to achieve with your music?

Regarding what I’m hoping to achieve, there isn’t really anything specific. It’s more about building my identity. But of course, there’s nothing better than getting validation from people you admire.

What were your original aspirations as a musician, and how do you think you’re shaping up?

I think, ultimately, I want to emulate what I love. That hasn’t changed—resonating with something, wanting to understand how it was created, and then attempting to do something similar. I find making music hard, and it never quite turns out the way I imagine. But I give it my best, release it, and try again. Holding something in your hands that you created—something nobody asked for or needed, but that exists simply because you wanted it to—is rewarding. And no one else can make it quite the same way.

Some self-help questions for a Monday:

Am I excited to dive into the challenges that I have lined up for the week?

Yes, lots of cool stuff ahead. However, I need to move out of my apartment—carrying boxes in January is not my favourite thing.

Am I looking forward to engaging with the people I am meeting or working with?

Yes.

Am I going to my dream job?

No, but I don’t know if that’s the right expectation. It surely is a nice goal, though.

Am I being compensated fairly for the value I bring to my job?

Yes.

Do I feel energized, rested, and confident?

Sufficiently.

If you were trapped on a desert island with one other person, who would you choose? How long would it be before you eat them?

Helge Schneider for the entertainment. Until he drives me nuts.

Your doctor says you need more exercise. What do you take up for exercise?

Competitive eating. Joey Chestnut is an impressive guy.

If you could travel in time, where in time would you go? Why?

I’d really like to have been in Berlin during the years following the fall of the Wall. I lived there for a while and felt like I had arrived just a tad late. So many books, articles, and exhibitions talk about that chaotic transitional phase of governance, where the combination of vacant spaces and kids with ideas led to a flourishing of temporary initiatives.

What was the first electronic record you heard, and how did it make you feel?

My dad listened a lot to Lady (Hear Me Tonight) by Modjo in the car. Catchy stuff.

How does your brain work when making music? How does it work when you aren’t?

On a good day, I get completely absorbed by it. It’s a nice feeling. I think the different stages of making a track call for different mindsets. While the beginning is a lot about not thinking, the end is much more analytical, and it requires discipline to refine drafts into tracks.

When I’m not making music, my brain likes to wander and get distracted. In the daily rush, it wants to put things in boxes—good/bad, important/unimportant, etc. But when given time, it can be a great observer, synthesizer, and creator.

What were the first and last records you bought?

I remember visiting my grandparents in Düsseldorf, and they gave me money for my birthday. I convinced my uncle to drive me to Cologne because I’d read about Kompakt and Groove Attack in Groove magazine. At Kompakt, I bought Apparat’s DJ-Kicks, and at Groove Attack, I picked up Força Bruta by Jorge Ben Jor and Deep Shadows by Little Ann, among others.

The latest one must have been Family Portrait by Ross From Friends. I had listened to it so often that I needed to have it on vinyl. I think he is one of the best producers out there at the moment.

What are you obsessed with at the moment?
Besides music, I’ve been obsessed with cyanotypes, an alternative photo printing technique. My works are on display at CoinCoin in Zurich for the next three weeks. If you can’t make it in person, check them out on this website I designed: thedogunderthelantern.com.

Once this is wrapped up, I really want to learn how to build my own audio plugin. I watched an interview with Steve Duda the other day where he explained how he got into making music software—I found him hilarious. I think it can’t be that hard to build a basic one.

What’s your answer to everything?
Less but better. But often enough, I’m tempted by more is more.

Anything else we need to discuss?
No. Thank you for supporting me!

The Dog Under The Lantern is out now.  The complete work, including the cyanotype prints and additional context, is available on a dedicated website.

Check on evil streaming sites here:  Spotify and here: Apple

…or make an ethical decision to support properly on Bandcamp here

Tracklist
Nthng – With You
Fennesz – The Point Of It All
Keith Jarrett – Pt. 3
Martinou – Absorption (Citywide)
Ryuichi Sakamoto & Alva Noto – Berlin
Vanity Productions – Ruby Lights
Philipp Stolberg – Palisander
Vanessa Amara – Piano, Accordian, Cello, Electric Guitar & Chamber Organ
Rival Consoles – Spirit Loop
Philipp Stolberg – Place To Stay
John Roberts – Paravents
Nicolas Jaar – The Three Sides Of Audrey And Why She’s All Alone Now
Kali Malone – Spectacle Of Rituals
Jacob Kirkegaard & Philipp Jeck – Soaked
Ulla – I Think My Tears Have Become Good
King Creosote & John Hopkins – Starboard Home