Hello everyone, it’s your host Tehillah from DULAXI, and today I’m delighted to be joined by Austrian musician Wolfgang Egger, the artist behind the electro-experimental project EGGER. Based in Graz, Austria, Egger works across electronic, experimental electronic, trance and avant-garde territory, creating music shaped by minimalism, analogue synthesis, machine logic and philosophical reflection. Today, we are discussing his fourth single, “Get Up”, released on 8 August 2026.
With its 130 BPM synthwave pulse, “Get Up” brings together EGGER’s fascination with analogue imperfection, electronic precision and retro-futuristic aesthetics, while moving the project toward a more direct and physically energetic expression. At the centre of the track is a repeated call to movement and desire, transforming a simple command into a wider reflection on agency, human instinct and our increasingly automated world.
Before we begin our conversation with Wolfgang Egger, here’s what you need to know about today’s featured project.
About EGGER
EGGER is the electro-experimental project of Austrian musician Wolfgang Egger, an artistic space where minimalism, darkness and philosophical questioning meet electronic experimentation. Rather than approaching electronic music simply as a means of creating atmosphere or rhythm, Egger treats sound as a way of investigating perception, technology and human behaviour. His work is built around analogue synthesizers, pulsating sequences, dystopian textures and a deliberate reduction that allows individual sounds and movements to carry weight.
That approach was established with “Strange Behaviour”, the project’s debut single. Drawing influence from early Kraftwerk, John Foxx and the darker shades of Depeche Mode, the track introduced Egger’s interest in the uneasy relationship between people and technology. Its questions were not presented as straightforward answers, but transformed into an electronic environment where repetition, atmosphere and machine-like textures could communicate a sense of uncertainty.
The second single, “The People”, developed that foundation while shifting attention more strongly toward human movement and collective experience. Its marching rhythmic character and dark 80s electronic influence brought greater physicality to the project, while its vocals placed human emotion more firmly at the centre. The third single, “I Breathe”, then turned inward, exploring a quieter and more meditative side of EGGER through restrained electronic movement and a philosophy of direction rather than a fixed destination.
“Get Up” follows these releases while opening another dimension of the project. At 130 BPM, the track is more immediate and physically driven, but its accessibility does not abandon the conceptual thinking that has defined EGGER from the beginning. Instead, movement becomes the central idea. The repeated call to “get up” transforms the voice into something closer to a signal or mantra, encouraging action rather than passive observation.
The track also reflects Egger’s continuing interest in retro-futurism. Rather than simply reproducing an 80s sound, “Get Up” uses that aesthetic as a way of imagining the relationship between an analogue past and a technologically saturated present. Its synthwave character provides a recognisable entry point, while the tension between analogue warmth, digital precision and machine-like repetition gives the music a distinctly contemporary perspective.
Egger’s creative process is closely connected to modular synthesis and analogue equipment, where instability and unexpected results can become part of the composition rather than imperfections to be removed. This relationship between control and unpredictability is central to the EGGER identity. Machines provide structure, but imperfections introduce movement, texture and a sense of human presence.
Across four singles, EGGER has therefore continued to develop a sound that exists between experimental thought and electronic immediacy. “Get Up” represents another step in that evolution, bringing the project’s analogue machinery, minimalist instincts and philosophical concerns together around one uncomplicated but powerful idea: movement can be an expression of freedom.
Having this brief introduction to today’s featured project, I’m sure both new listeners and longtime fans are excited to hear directly from Wolfgang. So, without further ado, let’s begin today’s interview.
INTERVIEW SESSION
Tehillah:
Your work as EGGER brings together minimalism, darkness, machine logic, and philosophical reflection, creating music that feels as concerned with ideas as it is with sound. What first drew you toward exploring technology and electronic music as a way of examining human experience?
Wolfgang Egger:
I was drawn to electronic music because it allows me to explore the tension between human intention and machine logic, especially the point where precise systems meet analogue imperfections and unpredictable results. With EGGER, I use minimalism, darkness and electronic sound as a way of questioning technology, human behaviour and our increasingly automated world. Each release is like a small research project where I use machines to explore ideas, emotions and ultimately what it means to remain human.
Tehillah:
You have described your music as a space where analogue imperfection and digital friction can exist together. What have you personally found in that tension between the warmth of imperfect machines and the precision of modern digital systems?
Wolfgang Egger:
I’ve found that the tension between analogue imperfection and digital precision creates a sense of life and unpredictability that neither can achieve alone. The machines provide structure and control, while small imperfections introduce movement, emotion and a human character. For me, that balance is where electronic music becomes less mechanical and starts to feel alive.
Tehillah:
Your earlier releases have each explored a different aspect of the relationship between humans and technology, from the unease of “Strange Behaviour” to collective movement in “The People” and inward reflection in “I Breathe.” How have those three releases shaped the artistic direction you are taking into “Get Up”?
Wolfgang Egger:
“Strange Behaviour,” “The People” and “I Breathe” each explored a different side of the human–technology relationship, and together they helped me understand the direction I wanted EGGER to take. With “Get Up,” I wanted to move from observation and reflection toward action, making the music more direct and physically energetic without losing the conceptual depth. It feels like a natural progression: less about asking what is happening to us, and more about deciding how we respond.
Tehillah:
Influences such as early Kraftwerk, John Foxx, and the darker side of Depeche Mode can be felt in the world you have built around EGGER, particularly in your use of synths, repetition, and dystopian textures. What qualities from those influences have stayed with you while developing a sound that is distinctly your own?
Wolfgang Egger:
What stayed with me is their ability to create something emotionally powerful through simplicity, repetition and sound rather than excess. I’m inspired by how they use technology not just as an instrument, but as a way of creating atmosphere and meaning. With EGGER, I try to take that spirit and translate it through my own analogue equipment, ideas and contemporary perspective.
Tehillah:
“Get Up” moves your music into a more physical and immediate space, with a 130 BPM synthwave pulse and the repeated call to “get up, get up, move in desire.” What personal or artistic idea were you trying to turn into that sense of movement?
Wolfgang Egger:
With “Get Up,” I wanted to turn the idea of overcoming inertia into something physical and immediate. The repeated “get up, get up, move in desire” is almost like a command to myself as much as to the listener — a reminder to keep moving when things become difficult. The 130 BPM pulse gives that idea a physical form, turning reflection into action.
Tehillah:
The 80s influence in “Get Up” feels less like a recreation of the past and more like a way of imagining an analogue future that never quite happened. What attracts you to retro-futurism, and what can this aesthetic reveal about our present relationship with technology?
Wolfgang Egger:
I’m attracted to retro-futurism because it combines the optimism and imagination of the past with our present understanding of technology and its consequences. It allows me to explore a future that was once imagined but never happened, while asking what we have gained, lost or perhaps overlooked along the way. With EGGER, I use that tension to create something that feels nostalgic at first, but ultimately speaks about our relationship with technology today.
Tehillah:
Your vocals often function more like signals than conventional storytelling, and “Get Up” uses repetition almost as a mantra. What interests you about reducing language to short phrases and allowing rhythm, tone, and repetition to carry part of the emotional meaning?
Wolfgang Egger:
I’m interested in how a few simple words can become more powerful when they are treated as sound rather than conventional lyrics. Repetition turns the voice into a kind of signal or mantra, allowing rhythm, tone and texture to communicate emotions that words alone might not express. With “Get Up,” the phrase becomes less about telling a story and more about creating a physical and emotional impulse to move.
Tehillah:
You approach electronic music almost as a study of perception, using slowly shifting layers and sequences that behave like mechanical organisms. When building a track such as “Get Up,” how do you decide which small changes in texture or rhythm are capable of changing the listener’s perception?
Wolfgang Egger:
I usually start by listening for the smallest change that creates a different feeling or tension. I’m interested in how a slight shift in rhythm, texture or repetition can change the way we perceive the whole piece without being immediately obvious. With “Get Up,” I built the track gradually, allowing these small changes to create a sense of movement and momentum.
Tehillah:
“Get Up” is described as your most accessible release so far, yet it still carries the conceptual qualities that have defined EGGER from the beginning. How did you balance the physical energy of a club track with the intellectual depth you want your music to retain?
Wolfgang Egger:
For me, accessibility doesn’t have to mean simplicity of thought. With “Get Up,” I wanted the rhythm and energy to work immediately on a physical level, while the deeper ideas remain underneath for listeners who want to explore them. The challenge was to make the track direct and instinctive without losing the tension, ambiguity and conceptual depth that define EGGER.
Tehillah:
The phrase “get up, shout to the top” feels deliberately direct and almost confrontational when placed against the rigidity of algorithm-driven electronic culture. What does that call to action represent for you, and what kind of resistance do you imagine it expressing?
Wolfgang Egger:
“Get up, shout to the top” is a call to resist passivity and the feeling of being controlled by systems we increasingly rely on. It represents the decision to stay active, curious and human rather than simply following what algorithms tell us to consume or become. In that sense, the track is not against technology itself, but against losing our agency within it.
Tehillah:
Your production practice is closely connected to modular synthesis and analogue equipment, where unexpected imperfections can become part of the result. What role do accidents, instability, and sounds that behave differently from what you expected play in your creative process?
Wolfgang Egger:
I see accidents and instability as part of the creative process rather than as mistakes. With modular and analogue equipment, unexpected changes can introduce textures or movements that I would never have designed intentionally, and I often follow those moments instead of correcting them. They keep the music unpredictable and human, even within a highly controlled electronic environment.
Tehillah:
“I Breathe” introduced a quieter, meditative dimension to EGGER through its restrained groove and the idea that life has “no goal, just direction.” How does that inward stillness connect with the more energetic physical impulse at the centre of “Get Up”?
Wolfgang Egger:
“I Breathe” and “Get Up” are really two different responses to the same underlying idea: how do we keep moving through an increasingly complex world without losing ourselves? “I Breathe” looks inward and finds direction through stillness, while “Get Up” turns that direction into physical action and momentum. In that sense, “Get Up” is not a rejection of the stillness of “I Breathe,” but its next step.
Tehillah:
Across your releases, there is a recurring interest in how people respond to increasingly technological and uncertain environments. Has making this music changed the way you personally understand the relationship between human behaviour, machine systems, and the culture surrounding them?
Wolfgang Egger:
Making this music has made me more aware that technology itself is not the problem — it is how we choose to use it and how much control we give it. I’ve become more interested in the moments where human intuition, emotion and imperfection push against systems designed for efficiency and predictability. For me, EGGER is a way of exploring that tension and asking how we can remain curious, active and human within an increasingly automated culture.
Tehillah:
As EGGER has developed from “Strange Behaviour” through “The People,” “I Breathe,” and now “Get Up,” the project has become increasingly comfortable moving between conceptual experimentation and direct electronic energy. What have you learned about your own artistic identity through that evolution?
Wolfgang Egger:
I’ve learned that experimentation and accessibility don’t have to be opposites. With each release, I’ve become more confident in keeping the conceptual ideas behind EGGER while allowing the music to become more direct, physical and emotionally immediate. I think my identity lies in that balance — using electronic music to explore ideas, but never forgetting that it should still move people.
Tehillah:
“Get Up” brings together several elements that have become central to EGGER: analogue sound, electronic precision, minimalism, physical rhythm, and philosophical questioning. What do you hope a listener discovers beneath the immediate impulse to move when they spend more time with the track?
Wolfgang Egger:
I hope they discover that the track is not only about movement, but also about agency — the decision to stay active and human in a world that increasingly encourages passivity and automation. Beneath the rhythm, I want listeners to sense the tension between control and freedom, and perhaps ask themselves what they are willing to move toward. Ultimately, “Get Up” is meant to leave the listener with a simple feeling: don’t just react — move.
Tehillah:
With four singles now establishing the foundation of EGGER, where do you want to take this world next, and what new questions about technology, humanity, or perception are you interested in turning into music?
Wolfgang Egger:
I want to take EGGER further into the space between human intuition and increasingly autonomous technology, exploring how our perception and behaviour change as machines become more present in everyday life. I’m interested in questions around agency, identity, attention and what remains uniquely human when algorithms can increasingly predict, imitate and influence us. Musically, I want to keep experimenting with analogue and modular systems while pushing the contrast between physical, imperfect sound and increasingly precise digital structures.
“EGGER turns the language of machines into a conversation about human agency, finding a compelling space where analogue imperfection, physical rhythm and philosophical questioning can coexist without one overpowering the other. ‘Get Up’ feels like an invitation to stop observing and start responding.”
~ Tehillah (DULAXI Team)
EDITORIAL PERSPECTIVE
“Get Up” is an intriguing meeting point between physical electronic momentum and thoughtful artistic inquiry. Its restrained use of language gives the vocal space to operate as rhythm, while the synth-driven arrangement creates a world that feels deliberately constructed yet never entirely predictable. What makes the track particularly engaging is the way its retro-futuristic character serves a contemporary question: how do we maintain agency in an increasingly automated culture? EGGER does not answer that question for the listener. Instead, he gives it movement.
~ Tehillah (DULAXI Team)
CLOSING
Our conversation with Wolfgang Egger offers a closer look at the ideas behind EGGER and the artistic thinking that continues to shape the project. From analogue imperfection and modular synthesis to retro-futurism, human agency and the changing relationship between people and technology, “Get Up” reveals an artist interested not only in creating electronic sound, but in using that sound to examine the world around him.
Thank you to Wolfgang for taking the time to speak with DULAXI and for sharing such thoughtful insight into his creative process, his influences, and the ideas behind “Get Up”. We encourage readers to experience the single for themselves and consider both its immediate physical energy and the questions that sit beneath it.
And to everyone reading, thank you for spending time with DULAXI. We hope this conversation has given you a deeper understanding of Wolfgang Egger and the world he is building through EGGER. Continue following his journey as he explores the space between human intuition, analogue sound and increasingly autonomous technology.
Until our next interview, keep listening, keep discovering, and keep making room for music that gives you something to think about.