Zurich, Switzerland
Welcome to the Pleasuredome
The Early Years as a
Concert Photographer in a Dark Scene and World
In 1989/90, my journey as a concert photographer began in one of the wildest and most unconventional scenes in music history: the dark scene and the emerging electro-punk movement. During this time, I witnessed not only the clash of raw, pulsating rhythms and anarchic ideologies but also the birth of a movement that, with its radically dystopian aesthetic and often disturbing sound, stood in defiance of societal norms. The images that emerged from this initial phase were eventually published in the New Life Magazine—a platform that, at the time, served as a significant springboard for the subculture.
Every concert I photographed was a journey into another world. It was a place where music wasn’t just heard—it was lived and felt. A place where the boundaries between individuality and community blurred in a unique way. The people I met there were neither onlookers nor mere spectators; they were part of a collective that found itself in the energy of the music and its rebellious attitude. They carried the message of electro-punk (EBM) in every fiber of their being, expressing their existence through a mix of urgency, rage, and hopelessness.
The images created during this time are not just photographs of people and events—they are documents of a scene that, in its intensity and rawness, is both disturbing and fascinating. They convey the energy of a moment that passed quickly but remains deeply etched in the memories of those who lived it. Electro-punk, not yet fully recognized or integrated into the mainstream, was a subculture thriving underground, fighting for its place in the cultural landscape.
These are images of distorted faces in the spotlight, of people merging with the rhythm of the music, of flickering lights and fog creating a dark, almost supernatural atmosphere. Yet behind the darkness lay a message of freedom: the struggle for artistic autonomy and against the conformity of mainstream society. The concert was not just a performance—it was an act of liberation and resistance against everything the scene perceived as oppressive.
These photos are more than snapshots. They are testimonies of a time when music was used as a political weapon, as an expression of resistance, and as an escape from societal norms. They depict a subculture defined not only by its music but by its attitude: wild, unpredictable, and radical.
Electro-punk, still a niche genre at the time, gained increasing recognition in the late ’80s and early ’90s. Its aesthetic—gritty, aggressive, and unapologetic—was reflected not only in the sound of the music but also in the way scene members dressed, behaved, and presented themselves. The intensity of the music and the subversive nature of the movement are mirrored in my photographs, which often capture moments of exuberance and ecstasy, but also document the dark, raw sides of the scene. The images became a mirror of a generation searching for new ways to express its frustrations and dreams during a time of social upheaval and political uncertainty.
Today, these photos are not just nostalgic memories but important historical documents of a scene that has earned its place in music history. Electro-punk and the dark scene have not lost their significance over the years. Their aesthetic and attitude have influenced countless artists and bands, shaping a wide range of music genres. Even now, the images born from those concerts stand as authentic testimonies of a culture that continually reinvents itself, yet never fully forgets its origins and principles.
Lilith
Concert Photographer in a Dark Scene and World
In 1989/90, my journey as a concert photographer began in one of the wildest and most unconventional scenes in music history: the dark scene and the emerging electro-punk movement. During this time, I witnessed not only the clash of raw, pulsating rhythms and anarchic ideologies but also the birth of a movement that, with its radically dystopian aesthetic and often disturbing sound, stood in defiance of societal norms. The images that emerged from this initial phase were eventually published in the New Life Magazine—a platform that, at the time, served as a significant springboard for the subculture.
Every concert I photographed was a journey into another world. It was a place where music wasn’t just heard—it was lived and felt. A place where the boundaries between individuality and community blurred in a unique way. The people I met there were neither onlookers nor mere spectators; they were part of a collective that found itself in the energy of the music and its rebellious attitude. They carried the message of electro-punk (EBM) in every fiber of their being, expressing their existence through a mix of urgency, rage, and hopelessness.
The images created during this time are not just photographs of people and events—they are documents of a scene that, in its intensity and rawness, is both disturbing and fascinating. They convey the energy of a moment that passed quickly but remains deeply etched in the memories of those who lived it. Electro-punk, not yet fully recognized or integrated into the mainstream, was a subculture thriving underground, fighting for its place in the cultural landscape.
These are images of distorted faces in the spotlight, of people merging with the rhythm of the music, of flickering lights and fog creating a dark, almost supernatural atmosphere. Yet behind the darkness lay a message of freedom: the struggle for artistic autonomy and against the conformity of mainstream society. The concert was not just a performance—it was an act of liberation and resistance against everything the scene perceived as oppressive.
These photos are more than snapshots. They are testimonies of a time when music was used as a political weapon, as an expression of resistance, and as an escape from societal norms. They depict a subculture defined not only by its music but by its attitude: wild, unpredictable, and radical.
Electro-punk, still a niche genre at the time, gained increasing recognition in the late ’80s and early ’90s. Its aesthetic—gritty, aggressive, and unapologetic—was reflected not only in the sound of the music but also in the way scene members dressed, behaved, and presented themselves. The intensity of the music and the subversive nature of the movement are mirrored in my photographs, which often capture moments of exuberance and ecstasy, but also document the dark, raw sides of the scene. The images became a mirror of a generation searching for new ways to express its frustrations and dreams during a time of social upheaval and political uncertainty.
Today, these photos are not just nostalgic memories but important historical documents of a scene that has earned its place in music history. Electro-punk and the dark scene have not lost their significance over the years. Their aesthetic and attitude have influenced countless artists and bands, shaping a wide range of music genres. Even now, the images born from those concerts stand as authentic testimonies of a culture that continually reinvents itself, yet never fully forgets its origins and principles.
Lilith