Born in Innsbruck, grew up in Tyrol, Seattle and Newcastle. He discovered his love for electronic music in his father's studio and started playing the piano and fooling around with synthesizers. He played in local bands of various styles, ranging from Death-Metal to Rock. In 1994 he started performing alone and moved to Vienna, where he kept his head above water with piano lessons. HAZARD is his newest album. The eight tracks of the album contain many influences and sounds: electro, experimental, a bit of techno ("After death business" sounds like a live recording of a rave coupled to a mad organist who's raping his instrument), industrial and e.b.m. a la D.A.F. (see for example as Philipp use the obsessive bass lines and the hard beats on "Keep talking") are the key elements that he used to compose a granitic album that sounds extreme and rhythmic. I enjoyed how he's able to keep the attention alive without using vocals while he keeps distortions and bass frequencies in control.
"The Glitter and Funk of Inner Necessity and Other Burnt-out Amplifiers"
"…PQ stubbornly stuck to his agenda, pursuing it intensively in countless oftenunpredictable concerts which won him an audience and a reputation as aremarkable (live-) musician. Even at the wildest and most totallyover-amplified concerts with an incredibly distorted keyboard—a terrific noisewhich just can't be gauged in terms of volume—his playful sensibility wasunmistakable. Another aspect which was unusual in the broader context of'electronica' was his brute psychedelic energy, which had equivalents inparticular musical and psychic moods, and which in combination with animmediacy that conjures up the key essences of punk, could not more clearlyhave demarcated the energetic difference between his music and pure laptopconcerts of that time. This extrasensory quality and a proximity to theuncanny, generated and opened up possibilities for cooperation within the fieldof fine arts, whether it was for the Viennese fashion and art label"____fabrics interseason" within the framework of a collection for secretsocieties, or whether it was for Thomas Feuerstein's exhibition on demons, orfor the Armpit installation by the art co-op gelatin, or musical backgroundfor Herwig Weiser's spooky video production, or, on a continual basis, for theworks, exhibitions and openings of Franz West. In these contexts,Quehenberger's music seems to be able to create additional bridges ofreception, but if it becomes clear that the point of it all is only to changethe context, or if it becomes apparent that there is an overhasty desire tocast a flimsy veneer of authenticity over the entire event, then thevoltage/volume can be revved/turned up again...…
I'm simply glad that this wild eclectic exists, a person who matter-of-factlyand at the same time aggressively stirs up all the micro-particles which makemusic so eminently necessary to survival and then elegantly layers them, tryingout an organization of dissonances, at one point putting them into a song, thenagain developing them in an endless improvisation, sounding them for anypossible/remote club suitability and then making it work. That there issomeone who thinks pro-actively about the radically accelerating aesthetic andcultural transformations in the functions of music, recognizes dormantpotentialities, and then dredges them up in performance, is, to put it mildly,exciting, as it extends far beyond mere entertainment, providing optimisticvistas for the future. The fact that he isn't new at this game, can brilliantlydemonstrate his multifaceted approaches, has maintained his original élan, and,at the same time, seems as though he were discovering the multiplicity ofmusical possibilities each day anew; the fact that he never exhibits any stresswhile contemplating the way he wants to express the variety of sonic choices hesees at any given moment, simultaneously exhibits chuzpe and edge, is eminentlyencouraging, being something only a berserker who is at one with himself andhis music can pull off, so long as his restlessness allows him to..."