Published
Name: Bernward Koch
Occupation: Composer, multi-instrumentalist, songwriter
Nationality: German
Recent release: Bernward Koch's new album Behind the Hills is out via Tree Tales.
Hometown Recommendations: Well, I live in the countryside in South Westphalia, Germany. There are castles, lakes, and lots of rolling hills here. And that’s exactly what inspires me the most: a natural landscape that’s as peaceful as possible, with sweeping views and the sounds of nature - like the rustling of the wind in the trees and birdsong. This landscape, which has both a gentle and a powerful effect, inspires and relaxes me, and is reflected in my music.
Things that I am passionate about but rarely get to talk about: Although I’m a huge fan of the Beatles—fantastic songs that are also extremely short—I’m also, as I mention in this interview, a huge fan of jam music from all kinds of genres, such as rock, jazz, electronic, world music, and so on. But it should sound unexpected (so no rehearsed phrases); instead, creative spontaneity and freshness are what count. Music can be like a journey to a new, “undiscovered land” that sparks the imagination.
If you enjoyed this Bernward Koch interview and would like to find out more about his work, visit his official homepage. He is also on Facebook, bandcamp, and Soundcloud.
Are there examples of minimalism in music – and outside of music - that impressed you early on?
I first heard the term in the 1980s (Steve Reich - Drumming) and found it very interesting and inspiring.
In fact, I find minimalism just as fascinating in drawings and comics. I’m impressed by how much can sometimes be expressed with just a few strokes.
Were you ever interested in minimalism as a style – from the Philip-Glass-variety to solo instrumental work to minimal techno? If so, tell me a bit about your interest in this.
Well, over time it became increasingly clear to me that minimalism can basically be found in many musical styles - for example, to name just a few, in early jam bands like the Grateful Dead or Phish, in jazz with Miles Davis and John Coltrane, or with DJs like Four Tet - I love it all!
Sometimes, when I’m improvising, I fall into a kind of trance. In those moments, I don’t always plan what I’m going to change or play next. The music, however, should have a flowing tension and a groove, and it should constantly evolve.
In fact, I once produced music for a research project (not publicly available) by the “Els for Autism Foundation” in Jupiter, Florida, which helps and supports people with autism. The music evolved only very gradually, which positively reinforced its health-promoting effects.
In retrospect, I realized that this music was essentially minimal music as well.
Do you tend to find that, as many claim, “less is more?” Are the notes you don't play really as important as the ones you do play?
Absolutely - that’s extremely important and an essential part of any truly good music!
Music is organic; it should breathe.
Do you feel as that making music is a process of adding elements until it is done – or one where you chisel away pieces from something that is already there?
That depends on many things. Sometimes it comes about through addition, but - at least for me - it’s actually always through subtraction.
I like it when you can say a lot with very little.
Many artists are becoming more minimalist in their music as the years go on, focusing on the “essence.” How is that for yourself and how would you describe your development in this regard?
Yes, I’ve noticed that too.
I see it as a logical progression - not just in music, but in life as well.
What were some of the starting points for your most recent release?
Really good ideas.
As always, I had plenty of ideas - about 60. But it's important to pick out only the very best ones and then work on them
How did a minimalist mindset possibly inform the creative process?
I don't really know - it all happens on a subconscious level.
Do you like to set yourself limitations? If so, which were some of those limitations for the new pieces?
Not really, but the music has to speak to me first and tell a story.
Melodies, variety in the arrangements, and the sound are important to me.
Thanks to sampling and digital synthesis, there are endless possibilities for sculpting the sounds and overall sound design of a piece or album. What are your considerations in this regard?
Yes, we really do have a lot of options - sometimes even too many. But the secret is bringing them to life.
I think it’s absolutely essential to have your own signature style with a certain degree of recognizability.
Would you say that you approach your creative tools with a minimalist mindset? Or do you need a wide choice of instruments and tools to make music?
Actually, both.
It depends on the composition and the arrangement. Sometimes a few tracks and instruments are enough; sometimes it’s exactly the opposite.
The composition is what matters most.
What were some of the most important pieces of gear or instruments for this release?
The most important instrument is the piano, but it’s also usually the starting point for adding other instruments to the arrangement.
Although I own various acoustic and electric pianos, I mostly use the “Noire” piano by Native Instruments. It’s a very high-quality sample of a Yamaha grand piano that consistently inspires me creatively—often more so than an acoustic piano.
I’ve been working with Steinberg Cubase from the very beginning. The bass on almost all tracks, for example, comes from “Retrologue,” a synthesizer plug-in for Cubase. I also use synthesizers like Omnisphere and, among others, the Yamaha DX-7 IID, which has fantastic dynamics.
My new album, Behind the Hills, also features acoustic instruments like flute, percussion, and guitars. It was precisely this mix that fit the arrangement perfectly.
Reducing one's options and techniques often implies a different way of working with the materials. Tell me about yours, please.
Ultimately, we make decisions based on what we hear—and that is the gateway to the soul. By that, I also mean the inner ear, the imagination.
In fact, ideas often come to me while I’m out walking or driving, without any instruments at all. It all takes place in my head, and I try to preserve it there in this special “tape recorder” until I get to the studio and quickly record it or jot down a few written notes.
Before I recorded my first album, I had already been making music for 20 years. I spent most of that time in numerous bands—mainly jazz-rock-funk groups—mostly as a keyboardist, but also as a drummer, percussionist, and always as a songwriter.
I focus on what I enjoy and what feels right to me. So even when I produce something very minimalist, it’s all based on my past experiences and influences. And that applies just as much to a DJ, for example
French producer Guillaume Duchastel told me: “Minimalism is about more than owning fewer things. It’s about focusing on what truly matters.“ What are some of your strategies for separating what matters from that which doesn't?
I see it exactly that way. Actually, you have to hear it. When you leave something out, it usually sounds better. In that sense, minimalism is also about leaving out the right things.
But as I said, you also have to hear it and feel it. Even though I once studied music, I’m an “ear musician.”
With so much incredible music instantly available, are you finding that you want to take it all in – or that you need to be more selective? How do you pick the music you really want to invest in?
You can tell right away whether the music speaks to you or not. And if the music excites and inspires you, the question arises as to whether that feeling will last a long time or only a short while.
Especially with the incredible amount of music being released these days, there’s inevitably a lot of mediocre stuff mixed in.
Would you say that minimalism extends into other parts of your life as well?
Yes, of course. If minimal also means “practical,” then it can be a blessing, especially in everyday life.
It shouldn’t be complicated - it should be simple (even if it rarely is…), but that would be the goal.
