Bookings - International/Rest of the World 
roman.trystram@caa.com

International record label for house, electronic, and dance music. We do not accept demos via Soundcloud messages. To submit a demo, please click the link below. Thank you.

Check out FAMOUS and STRANGER music videos: http://youtu.be/0C0LFkwnz3g
https://youtu.be/I00ZBkDnnkw 
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>> Welcome To Sunn Tecchnoo <<
 - > - Pentagrid Sound Design - < -

🌀 I am a DJ, producer and frequency architect,
My Label is Wald & Wahnsinn Production.

🏴‍☠️ Usage policy – Wald & Wahnsinn Tracks:

- No unsolicited remixes, edits, mashups,
   or downloads.

- All uses require my prior consent.

- The finished remix must first be shared with me.

- Commercial use only with written permission.

- Labeling requirement: Original by Waldmensch
   or Kanes.

🌿 "My music is more than sound – it is movement in space"

🌀 I compose with a deep connection to nature, analog Technology, and a Pentalayer-System:
That shifts five tonal layers in real time -
Bass, kick, hi-hats, vocal, and instrument –
Individually controllable, consciously placed!

🌀 Between "Sunn Tecchnoo", Forest Psy,
Cringe Groove©2025,
Techhouse and Drum’n’Bass,
I work with fields of tension – not Template.

🌿 "Every track is recorded live,
Built analog and deliberately imperfect"

🌀 My instruments are real synths, drum machines, modulations –
No drag-and-drop loops, but sonic biotopes

🌀 The focus is on psychoacoustic impact – not genre Conventions

🌿 For me, music is a tool of healing...
Of our bodies. Our connection. Our roots

"I believe in sound as a space of transformation – not Performance"

👁️⃤  Projects:

🌀 Sunn Tecchnoo: organic techno with heart current

🌀 Cringe Groove: critical, humorous, danceable

🌀 Techhouse Vibe: raw, lustful, energetic

🌀 Forest & Twilight Psy: trance-inducing, shamanic, deep

🌀 Drum’n’Bass & Experiments: for high states in full awareness

🌀 Podcast “Waldmensch spricht”: word, frequency, philosophy

No scene. No template. Just frequency architecture with integrity

🌿 Waldmensch –
Music made of love, modulation, and courage.

ABSTHRAX (5.10.1977)

When Michael first discovered the original "August Förster" piano in grandma and grandpa's house as a young boy, he was hooked. His loving parents immediately recognized their son's talent for music and supported it from the beginning.
Since you could not learn to play the electric guitar or drums in the 1st grade, i.e. at about 7 years of age, the trumpet was the most impressive instrument and his future trumpet teacher Peter Roschi presented it with a huge amount of space. For Michael, it was clear that the trumpet should be the first one.
After 2 years of basic lessons and knowledge of sheet music as a threesome, we then went to the ensemble of the Kadettenmusik Aarau. There he learned in an impressive way how a small orchestra is structured and how incredibly strong the power of music can be when you play and live it together. He was immediately hooked...
When the "August Förster" suddenly stood at his home, there was no stopping him. Every day he needed his piano ritual, played all the songs he liked without any trained knowledge of the keyboard, only by ear. At the same time, it was a kind of meditation early on. This piano will accompany him and his brother, who has been blessed with the same musical talent, for a long time to come.
Whether piano, cornet, trumpet or trombone, Michael tried out many things during this time. This partly ended at the age of about 14, as he met the cool guys in high school who really wanted to found a band. Guns'n'Roses, AC/DC, Metallica and whatever they are called, were very trendy at the time, the hair was long, and the guitars hung low.
Luckily, his father Markus still had an old "Framus" electric guitar. From then on, the electric guitar was his main instrument and the first band was founded at the age of 14. In total, Michael played the electric guitar in 3 different main bands and various side projects until he was about 30 years old, in the latter also bass or drums.
Cubase1 was also developed at that time and first insights into electronic music in the studio of friends were possible. 
Through the S.U.N Project, which produced the music style "GOA" with distorted guitar and drums, Michael found his way into the previously hated, dead and lifeless computer music. Luckily, there was this studio. From now on, DJ was the order of the day. At that time, this was only possible with vinyl and you still had to travel long distances to get to your shards.
He became a resident DJ at the GoaSpaceGroup and often DJed with his brother at various Goa parties. At some point, however, the good music was only released on CDs and since there was no money for players, and at that time the digital computer world was still too far away for Michael, the end of Dj Absentia came for the time being. The position in the band was more important anyway and the energy of the five on stage was also much more intense. Until the age of 30, he played in the last band. As is so often the case, an argument led to one of them packing his things and leaving.
Then family and everything around it became so important that Michael didn't notice how his musical talent was absolutely unused and forgotten, slowly atrophied. A deep spiritual wound arose quite unnoticed. In between, he was in the studio at "Sphenoid music" and took a lot of know-how with him from this time, got to know all the Fabfilters and other plugins, including Cubase. In itself, watching the champion for hours was really good. The joint project "Plasma" did not work for very long, but it was still very rich in learning.
Through further training in the graphic planning of horticulture, Michael really made friends with the computer for the first time and later Dj Absentia was also gradually raised from the dead. Sphenoid helped him understand Traktor and Beatport. Thanks to the close contacts to the "Reisefieber" crew, he has the opportunity to mix at various parties. But as in the past, a musician simply notices the difference. Mixing alone is not enough.
It was only when he bought a hybrid western guitar with nylon strings with cut away at the age of about 37 and began to sing and play the old songs that were all still in his head on his own in the style of a singer-songwriter, he experienced again the lost magic and meditation that he once felt directly in analogue direct music through vibration on and in his own body. The tears flowed by the liter in the early days, it was his salvation. He had rediscovered an important form of meditation that he will now practice forever. The learning effect has also been huge since then and does not seem to stop.
It was only with the death of his father and the little inheritance that Michael decided to afford a DAW that can hardly be topped in terms of performance. Now it was time to take the helm into our own hands digitally. Only after a few sobering results, feeling "at home" on the DAW and watching some good video tutorials, did he get to know certain blueprints for floor plans and foundations of song structures, which has developed into the 1st small milestone.
However, what is needed first and foremost is the time and space for inspiration. This is a bit difficult, especially in the summer months. But he will now produce music for the rest of his life and learn a lot along the way. How close one release will be to the next remains to be seen. But it comes!!

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