Gudrun Gut

Gudrun Gut (Photo: Udo Siegfriedt)

Gudrun Gut needs no introduction. She is a legendary musical pioneer of the 80s, a producer, label founder and electronic sound artist. I met her for the first time in 1989 and consider her to be one of the most impressive women I have had the pleasure of knowing since then. Her mixture of quiet joy in small, everyday moments and her unerring instinct for future sounds and avant-garde art is remarkable.

Her labels, Moabit and Monika, which she has run for years, have released some of the best female electronic musicians worldwide. She is also the curator of the Um_ Festival in the Uckermarkt, ithe support act for Kim Gorden, runs a residency for female artists in a rural area outside of Berlin, speaks on international panels, organizes workshops and is a jury member for important institutions. Her support of other female musicians is unique; the blend of being a friend and accomplice contains no hint of the cattiness or capriciousness that can still be found in many women despite all their emancipation. Her calm composure manages to bring very different, highly nervous artists together in such a way that they create valuable music and have fun doing it.

I’m more than delighted that she was able to take the time today to answer a few questions for me.

Danielle de Picciotto: Gudrun, what are you working on right now?

Gudrun Gut: I’m really happy to finally have more studio time again and not be on the road so much. Yesterday I recorded the vocals for a song by Tobias Freund, a cover version of Suicide. Then I’ve been studying various new software updates and tutorials and am working on new solo material and pieces for a performance. It’s supposed to be a quirky musical. It’s fun and challenging.

I also have a text-heavy project about the Monika Enterprise label, or rather, the period from the mid-90s onwards in Berlin’s music scene, with mountains of interviews with the people involved. I’m working on that together with Tim Ra. We’re currently transcribing these conversations and going through them. It’s actually a great joy, with lots of wonderful memories and forgotten events. There’s also going to be a small exhibition for the book—probably all in spring 2026. That will be the Monika 100—the 100th release.

Currently I’m also preparing for the UM_Festival, which takes place every other year at the beginning of September in the Uckermark region. I’m responsible for the music curation there and also part of the association. http://um-festival.de/

So, I’m working on several projects at once and on my tax return…
But above all, I’m cultivating boredom. It’s completely underestimated. Boredom is important for creative ideas. 🙂

Gudrun Gut (Screenshot: Mara von Kummer)

You’ve created a universe of your own instead of waiting for others to invite you in. Is there anything else you’d like to do or achieve?

Gudrun Gut: Yes. Of course. There are quite a few. First, there’s an idea, and then I approach it slowly, step by step. The idea is fleshed out. It has to be exciting and challenging, and of course, it should be fun too.
My needs have changed over time.

I used to like to party all night long, but today I’m not really interested in an endless night of carousing. Airports have also become a nightmare for me. But I’m very interested in film again.
I didn´t go to the cinema for almost 20 years, instead I’d go to the theater. I’ve come to really appreciate the work of Susanne Kennedy – I’ve seen several of her plays at the Volksbühne and the production of “Einstein on the Beach” at the Berliner Festspiele. Her integration of video and playback in her plays is impressive. But for a few years now, I think since Ruben Östlund’s “Triangle of Sadness,” I’ve been going to the movies again. The films have become bolder and better, I think. And I enjoy the complete seduction of cinema. Lights out – film on.

Then there is my own series „GUT“ – I pretty much stumbled into that. The director, Heiko Lange, asked me if I could imagine doing something like a series and then everything happened very quickly. We were a small team: Heiko, Johannes Funk (the cameraman), and I, and we pulled it off in a very short time. Of course, we also had friends and acquaintances as guests. Then there were the producers of Kobalt and the editor, Marvin Leibold. Overall, it was inspiring, and I became more familiar with the team spirit of filmmaking and the genre itself. I love working with images and sound. That’s why I’d like to do a musical – to reverse the term – and maybe even a film. I’m working on it.

Gudrun Gut (Photo: Udo Siegfriedt)

You’ve supported an incredible number of women/musicians. What about the women’s movement? Have things improved? Is there less discrimination?

Gudrun Gut: Yes, things have improved somewhat. But there are always setbacks. When I look at the world now, I’m totally frustrated. It seems as if time is turning back. Who would have thought that today we would once again have to fight Nazis and that women’s rights would be questioned? It’s horrible.“

You live in the countryside and enjoy nice walks or downtime. What do you think is a good amount of work to get ahead? In the city, there’s always constant hustle and bustle – is that beneficial for your career?

Gudrun Gut:I enjoyed 40 years of city life to the fullest, getting involved and taking in everything. Living in the countryside was like a completely new experience and challenge – I needed something new, simple, and grounding to inspire me. I learned to live a different life here – gardening, plants, designing, etc. I find it exciting and relaxing at the same time. Nature. The silence. The wide horizons. The seasons. The concentration. Plants, animals, the relationships here in the countryside are different. Not so fleeting.
I also have a studio to work in, the internet is a must, and nice neighbors. So it’s not that lonely.
The city is wonderful for networking. For concerts, movies, theater, and dining—I enjoy visiting Berlin regularly or other cities around the world. My concerts are almost always in urban areas.

You’ve been working in the music industry for over 40 years. Looking back, is there anything you would have done differently?

Gudrun Gut:Hmmm. Maybe I should have hired a lawyer more often. But at the same time, lawyers annoy me, and if things can only be solved that way, that’s a real problem. So, DIY is totally okay, and it works. Learn from mistakes! And recognize mistakes as inspiration! That’s how I’ve always seen it. And don’t give up so easily. Have faith in the good.
I’m quite persistent—an old bull. The music industry is very special and exciting, but it also involves a lot of work. Many people forget how much sweat, disappointment, heart and soul, and dedication go into it.

Was there an unexpected turn in your career?

Gudrun Gut: Oh yes! My life didn’t go as planned; one thing led to another. I’ve forgotten many turning points since then… but this one just happened: Radio Rotation on Radio Eins here in Berlin-Brandenburg with my 10-year-old piece ‘Garten’! It was really nice to hear my own music in the daily program. And it’s especially nice that I actually listen to the station often now and appreciate it… Radio is great anyway. I used to do oceanclubradio myself with Thomas Fehlmann.

Who has significantly inspired or impressed you musically, and why?

Gudrun Gut:Of course there are always inspirations. They are usually my partners and collaborators– I’m constantly being inspired and influenced by people and situations. Sometimes even by something as simple as an old song or a sentence I read, or a small beetle gliding across a leaf.

Gudrun Gut (Photo: Udo Siegfriedt)

Who are your current favorite artists?

Gudrun Gut: Because of my label work, I’m a bit biased, because all the Monika artists are, of course, great. Otherwise, I really like the music of Anika, Lana Del Ray, and Lucrecia Dalt. I also like Sophia Kennedy; I like the song “Hot Match,” for example, or “Gondeln” with Koze.
Or what about Peggy Lee or Patsy Cline?

Have you ever wanted to change careers?

Gudrun Gut: Yes, definitely! I love the game, hehe! But the music scene is sometimes very frustrating. The self-doubt, the lack of money.
The 2000s were super productive at first, and Berlin has never had so many great musicians and labels. But then at some point, the distribution networks collapsed, and at the post office, when you bought printer paper, you’d get a free MP3 as a bonus. It’s not a joke; it really became super depressing and pointless. Music seemed worthless. The work on music didn´t seem important or appreciated. The industry had completely sold its soul. Back then I thought: I wish I had become a landscape architect. Ha, but it was too late…
Well, and then I got my passion for music back. I experimented with analog devices and founded the Monika Werkstatt project, where we all had fun together. You were there as well, Danielle!

Yes, I was, and I loved it! Gudrun, is there something you want from the world?

Gudrun Gut: I wish for peace, freedom, and justice. And, of course, lots of love. May the hate disappear. Nobody needs it. We need love, love, love!

Gudrun Gut (Photo: Udo Siegfriedt)