There’s a sense of momentum surrounding Michael Wagner right now. Originally from Klagenfurt and recently relocated to Vienna, the Austrian producer finds himself at a pivotal moment – one defined not by sudden breakthroughs, but by years of careful refinement finally coming into focus. With his debut vinyl release on Dig This Records scheduled for early 2026, he ticks off a long-held personal milestone while stepping more visibly into a scene he’s been orbiting for some time.
A defining element of Wagner’s trajectory is the clarity of his artistic focus. His productions are firmly rooted in understated, groove-driven house, shaped by a deep sensitivity to rhythm, space, and restraint. Rather than reaching beyond the dancefloor, he refines its language from within – drawing on subtle textures and atmospheric nuances to create tracks that feel both functional and deeply immersive. It’s this balance – between precision and feeling, control and flow – that defines his approach.
In conversation, Wagner comes across much like his music: reflective, self-aware, and quietly ambitious. We spoke to him about moving cities, navigating doubt, the story behind “Invisible Man”, and why sometimes the best plan is to have none at all.
Torture the Artist: Hey Michael. Tell us something about your day.
Michael Wagner: It’s a beautiful Monday. I was working and enjoying the sun in the office, haha. Now I’m on the couch listening to some music, so it’s a very easy start to a fresh week. <smiles>
Torture the Artist: You’re originally from Klagenfurt and now based in Vienna. When you think about that move, does it feel like growth, escape, or necessity?
Michael Wagner: It absolutely feels like the right step to have taken. Here, I’m much more connected with like-minded people. I love Klagenfurt, and of course I miss my friends and family, but experiencing the currently growing scene in Vienna and being part of it makes me really happy. For me, the move was definitely growth, even though it also came with some doubts in the beginning. After six months in this city, I’m really glad I moved.
Torture the Artist: Did leaving Klagenfurt change your ambition, or did it simply give your ambition more room?
Michael Wagner: I think the ambition was always there, even back in Klagenfurt. But Vienna gave it more room to grow. Being closer to the scene, meeting people who share the same passion, and seeing things happening around you makes it easier to stay motivated and keep pushing forward.
In that moment, a lot went through my mind – pride, fear, joy.
Torture the Artist: “Invisible Man” is the first 12″ on Dig This Records. Opening a label’s catalogue is a bold position. Did that excite you, or quietly terrify you?
Michael Wagner: Honestly, I never expected the guys from the label to release a record with my music at all. Before I knew about my luck, I had already sent them around 15 tracks, and then it was quiet for a while. Suddenly, I got a message listing five tracks, and they said they wanted to release the first record of the label with me. In that moment, a lot went through my mind – pride, fear, joy. It’s hard to put into words what that felt like. A dream coming true.
Torture the Artist: The title “Invisible Man” feels introspective. Have you ever felt overlooked in the scene, or was the invisibility self-chosen?
Michael Wagner: I never really thought about it that way. I never truly wanted to be invisible – I think every artist has the desire to be seen more at some point. Overall, I simply followed my passion. The title “Invisible Man” actually comes from the vocal in the track. But when I thought about the track names, and especially the EP title, it felt right to choose “Invisible Man” because outside of a small circle, not many people really knew me yet.
Torture the Artist: You spent years refining your sound before this debut. Was that patience discipline, or fear of not being ready?
Michael Wagner: It was more fear. I often compared myself to other artists and their music, which definitely held me back. It was a good friend from Slovenia, Iza, who DJs under the name Izza. She encouraged me and liked my early tracks. She played one of them at the Butik Festival, which is how the guys from the label first noticed me. Without her, this record probably wouldn’t exist. I’m forever grateful to her.
Torture the Artist: There’s restraint across the EP. No unnecessary drama, no forced drops. Is that a reflection of your personality?
Michael Wagner: I think it reflects my taste more than my personality. I’ve always been drawn to timeless arrangements and tracks that don’t try too hard. Sometimes less says more, especially on a dancefloor. I try to create space in my music so the groove can really breathe.
Torture the Artist: When you’re alone in the studio, what thoughts are loudest – confidence or doubt?
Michael Wagner: When I’m in the studio making music, I often think about nothing at all. I feel like I’m in trance and completely in the tunnel. But after a session, doubts sometimes come up, and I ask myself why I’m even doing this. Feedback like the one I received for the last record gives me confidence and reassures me that what I’m doing is right, and that’s very motivating.
Torture the Artist: “Michael’s Plan” was originally called “Don’t Stop”. Why rename it after yourself? Was that ego, irony, or ownership?
Michael Wagner: When I first called the track “Don’t Stop”, it was just an idea – more like a rough version. When I sat down for the final session, it felt more like a plan, an idea I was consciously executing. That’s why I called it “Michael’s Plan”.
When I start a new track with a very specific idea in mind, I often drift away from it and end up disappointed if it doesn’t work.
Torture the Artist: Do you actually have a plan, or are you navigating instinctively?
Michael Wagner: I navigate intuitively, and that works best for me. When I start a new track with a very specific idea in mind, I often drift away from it and end up disappointed if it doesn’t work. I’ve learned that not following a strict plan works better for me – just going with the flow.
Torture the Artist: “Moments” and “Rue 69” lean more toward the club. What kind of dancefloor do you imagine when producing – packed and sweaty, or half-empty and hypnotised?
Michael Wagner: One where people can forget about their everyday lives and just enjoy the moment. Whether it’s packed, sweaty, or half-empty doesn’t matter that much to me, as long as the vibe is right.
I often run away from my own feelings, but music gives me the opportunity to give them more space, and that feels good.
Torture the Artist: “New Life” closes the EP with a softer, almost vulnerable touch. Is vulnerability something you allow easily in music?
Michael Wagner: I often run away from my own feelings, but music gives me the opportunity to give them more space, and that feels good. Depending on the day and my mood, my feelings are reflected in my music.
Torture the Artist: Vienna can be elegant, composed, even reserved. Does that cultural atmosphere mirror your inner world?
Michael Wagner: Maybe subconsciously. Vienna has this elegant and slightly reserved atmosphere, but underneath there’s a very vibrant scene. I think that balance between calmness and hidden energy is something that also appears in my music.
Torture the Artist: When was the last time you felt completely confident in your artistry?
Michael Wagner: After my Dig This release, 100%. I received so many nice and heartwarming messages about my music. It was a completely new experience.
Torture the Artist: And when was the last time you questioned everything?
Michael Wagner: <laughs> Right now, to be honest. I’m working on some projects at the moment, and I feel super stuck in my writing process. There’s nothing that really excites me about my tunes at the moment, so I’m currently taking a break and listening to a lot of sets and music to get my creativity back.
Torture the Artist: Let’s talk digging. What are you really searching for in a record – perfection, surprise, or something that feels like you?
Michael Wagner: I like to be surprised. <laughs> But I’m not really searching for one specific thing. Digging has something about it that fascinates me again and again – discovering new artists and new music. It’s an endless rabbit hole full of surprises, and I love that.
Torture the Artist: Name three records you discovered recently that shook you a little.
Michael Wagner: First off, there’s a new label called Blockbusta Records. The first release is by Ty Serna, and the track is the B1 called “Bipped in Oakland.” That track blew me away the first time I heard it.
Then definitely the latest album by Phil Evans called “E-Motions.” When I heard it for the first time, I could just close my eyes and drift away. I really love this album.
Last but not least, a track by Sebastien Barquet called “Whip It”. I really like the groove of the bassline and how everything works perfectly together – it’s a real weapon.
Torture the Artist: You have a second EP coming on Rhythm Science. Does it reveal something about you that your last record hides?
Michael Wagner: The new record for Rhythm Science definitely shows another side of my sound. I experimented a bit more and tried to push myself in a slightly different direction while still keeping the core of what I like in my music.
Torture the Artist: With your track “Landing” landing on James Andrew’s Nothing But Knowledge label, do you ever adapt your sound for context, or is that a line you refuse to cross?
Michael Wagner: I find it difficult to make music specifically for a label because it can limit my creativity. It’s not a line I would absolutely refuse to cross, but I prefer to experiment freely and just see what comes out of the process.
A classy house record has control in its groove and structure, but at the same time it allows the listener to surrender to the rhythm.
Torture the Artist: What’s the sexiest thing about a classy house record – control or surrender?
Michael Wagner: It’s the balance between both. A classy house record has control in its groove and structure, but at the same time it allows the listener to surrender to the rhythm. That tension between discipline and letting go is what makes it really special.
Torture the Artist: Outside of music, what makes you feel alive in Vienna?
Michael Wagner: Spending time with friends, walking through the city, and just enjoying the small moments. Vienna has a beautiful atmosphere, especially in the summer when people are outside, sitting in cafés or by the Danube. Those moments really make me feel alive.
Torture the Artist: If “Invisible Man” were a psychological state rather than a record, what would it be?
Michael Wagner: Maybe a phase of self-reflection. A moment where you’re not fully visible yet, but you’re growing, learning, and preparing for what comes next.
Torture the Artist: Finally – what are you still chasing?
Michael Wagner: I’m chasing growth. Becoming better at what I do, learning more about music and about myself.
Words by Holger Breuer
Torture the Artist 