Angela Aux

In the organizer's words:

Angela Aux is a phantom of the German pop cosmos, but not one that hides particularly well. His songs play on radios all over Europe, he is streamed millions of times, his music can be heard in movies. And yet he remains mysteriously shrouded in fog. Like a chameleon that sinks so deeply into its production that it seems to disappear into it. Perhaps because his theatrical fusion of indie concert, philosophy crash course and Dada comedy cannot be described in one sentence: One moment you're listening to a melancholy song about the psychological pitfalls of everyday life. The next moment, a wave of laughter rushes through the audience when he relates the longing for variety to extraterrestrial life in such an absurd way that you can first marvel, then shake your head and accept your own transience for a while.

The songwriter combines supposed opposites, creates corridors between distant genres. One moment he sounds like Mac deMarco with a Peter Licht chorus, the next like a J Dilla version of Sufjan Stevens, only to oscillate between the Beatles and Caribou shortly afterwards. He sometimes changes musical genres several times in his songs, switching from folk pickings to eclectic-electronic patterns to ambient passages and likes to play his own folk pieces in reduced dub versions. His kaleidoscope of profound songs and absurd thoughts creates a dreamlike, transcendent pull live. Dancing on a fine line between sleep and wakefulness, the songwriter engages in a kind of serious Dadaism. The interweaving of supposed opposites such as talent and dilettantism, criticism and slapstick is partly reminiscent of Helge Schneider. But Angela Aux is more melancholy. It is no coincidence that her folk songs are often found at particularly emotional points in films, e.g. when the heroine realizes that there is no life without disappointment ("About a Girl"), the prodigal son returns home with his mother ("My Son") or Momo pauses for a brief moment before the showdown begins ("Momo").

The mental journeys touch other regions of the brain-heart matrix. After a concert, you feel as if you have seen a good book and a special movie at the same time. Angela Aux shapeshifts like a quantum personality: whenever you think you have him figured out, he is already somewhere else, counteracting a wise thought with bizarre scatterbrainedness. Or he cheerfully lists some of his fears and then reveals his favorite neuro-hacks. Concert-goers sometimes miss the subway after shows because they are lost in thought, reviewing what they have just experienced.

Feature articles describe him as "the perfect mixture of Kraftwerk and Bob Dylan" (Deutschlandfunk Kultur) and "a wondrous mythical creature with insanely good songwriting" (FM4). The Süddeutsche Zeitung calls him a "miracle of a mixture of Elliott Smith and The Notwist" and even the Redaktionsnetzwerk Deutschland calls him the "future of folk", while the Musikexpress confesses: "You will have to search a long time for a better folk album this year". His last album "Spacelarking in the Age of Spiritual Machines" was "Album of the Week" on RadioEins and Zündfunk / Bayern2. He wrote a science fiction novella for its predecessor "Instinctive Travels on the Paths of Space and Time" and staged it together with the Münchner Kammerspiele as a transmedia theater piece, which was also performed at the "Fusion Festival" and the "Berlin Science Week".

"Das Nichts macht Kopien von sich Selbst" will be the first in German and deals with the future of humanity (release: 23.10.2026). For his collage style, the vinyl collector draws on other record genres this time: from 90s grunge, Hamburg school and lo-fi electronics, Angela Aux creates little pop anthems that are so gently embedded in the madness of the world that it generates confidence and euphoria.