01. Holzfeuer
02. Vielmehr Klampfe
03. Inzo der Barrakuda
04. Erich Nagelbett
05. Öddum Kriegtroll
06. Baron von Trotz
07. Karl Dichtschnur

Past Members
08. Der Wölf
09. Gellend Adler
10. Toten Adler
11. Halstucha
12. Schlagbolzen


ORIGIN: Wolfsberg, Austria
SPECIALTY: Bloodletting Bass
WEAPON: Ernie Ball Music Man
ACTIVE: 2004-2007, 2010-2011, RIP
EXERCISE: Pursuit of prey
QUOTE: "Nobody dares dare Der Wolf, there."

Armin and Petra Schafkleidung welcomed the birth of a son in Wolfsburg, located in the Carinthian region of Austria. A quiet, shy boy, Manfred didn’t utter his first word, ‘Nein’, until the age of six. At the age of seven, Manfred developed a painful case of kidney stones, which caused the boy to be bedridden for several weeks. During moments of an excruciating attack, Armin and Petra tried every remedy known (even the old standby warm cod oil paste rubbed on the chest) to help their boy. The only thing that calmed the boy, his parents soon learned, was the chamber music coming from Herr Schmidt’s Victrola next door. Manfred had discovered music.

Growing up, Manfred showed no interest in the hiking excursions and licking of chocolate-covered geheimnis fett of the other children. Whether rainy days or summer afternoons, the boy could be found listening to the orchestral radio broadcasts from Vienna. To even the observer with the lowest of foreheads (in this case, seldom spoken of cousin Herman), it was obvious Manfred was destined for a life in music.

His parents encouraged Manfred by providing private lessons with the best teachers they could afford. Almost immediately, Manfred became enamored with the bass and showed an almost innate ability in its playing. At sixteen, the boy auditioned for and received a scholarship from the Vienna School of Music. Within no time, Manfred’s incredible talent on bass awarded him respect and popularity both on and off campus. Eventually, this ability was brought to the attention of Herr Vasilic, a composer and respected member of Vienna’s Chamber Music Council, who wasted no time in taking the young prodigy under his mentorship. Herr Vasilic bragged to friends that he wanted to solidify his name in history as the man that discovered the great Manfred Schafkleidung. Herr Vasilic gave the boy his permission to go through his well known collections of sheet music, fruit labels and records. It was while perusing the latter that Manfred discovered Austrian composer Arnold Schoenberg’s 12-tone method. Immediately, Vasilic chastised the boy for listening to “...that crap! Forget you ever heard it!”

With their 1905 and 1908 debuts, Schoenberg’s atonal compositions were not met with favorably and, in both cases, resulted in riots. Try as he might, Manfred couldn’t forget what he’d heard, hearing bits and pieces at any given time. Then, during another in what had become many evenings of insomnia, he heard the distant howling of a wolf, followed by another, then another. Manfred claims to have listened to them perform a familiar arrangement. The piece he is said to have heard howled was Schoenberg’s Concerto for Cello.

On September 23, 1996 during Manfred's last year as a student, Vienna concertgoers were treated to the School of Music’s performance of Peter and the Wolf. As the last note was played, the crowd applauded for an incredible ten minutes. As the applause began to die down, a young boy, seated in the recesses of the balcony, expressed his enthusiasm by howling like a wolf. Cellist Jonne Liestch described what happened next. “Zis howling could be heard und some of us laughed. But ze bassist to my right, zis Manfred, began shaking as if overcomed by ze devil and zen,...zen he began foaming at ze mouth like a rabid dog.”

With an earsplitting wail, Manfred leapt atop the kettle drum and began playing, almost violently, the 12-tone concerto he knew all too well. For fifteen minutes, Manfred both played his bass and fought off the dozens of hands attempting to seize him (a total of seven people claimed to have been bitten.) From the audience, Herr Vasilic rushed up and yelled, “What are you doing?! You are a disgrace, Manfred!” Bearing teeth, Vasilic’s prodigy growled back, “Manfred is dead. I am Der Wolf.” --Der Wolf then leapt off the stage, tore through the crowd, then outside the building and down a darkened street.

In a slow, elderly pursuit, Herr Vasilic called to the shrinking figure, “You’ll be ejected from ze school, from ze council! Don’t you care?!”

The answer was simple, but true. “Nein.”

Over the next year and a half, Der Wolf soloed all over Europe, indifferent to the response. Quickly, he became the most infamous bassist to emerge from Austria, an infamy that reached across to the US and to the attention of ArnoCorps.

When Der Wolf moved to the United States at the request of ArnoCorps, he changed the spelling of his name to Der Wölf. He explains, "Arnold Schoenberg was known as Schönberg in Austria. He dropped his ö when he came here. I picked it up for him."

Although originally recruited as a guitarist to replace the exiting Halstucha, Der Wölf’s suggestion of two basses and two guitars helped to reinvent the greatest band of all time and define the "heroic symmetry" configuration that is now synonymous with action adventure hardcore rock and roll.
Der Wölf speaks very little, has an overdeveloped sense of smell and tries to run every time the band tries to give him a bath.

Wheel Of Pain Push-Ups

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