Niklas Paschburg and Krug Champagne’s Unexpected Collaboration on Taste and Music

German pianist, composer and electronic music producer, Niklas Paschburg has been acknowledged as one of the greatest European talents in instrumental music. Paschburg’s music ranges from Ambient to Pop, crossing between various genres and redefining them. His unique musical style and performance caught the eye of the French Champagne Maison Krug at a festival in Hamburg a few years ago where Paschburg was performing and fast-forward to 2021, the two have collaborated on a special project. The project, which involved two of Krug’s most well-regarded champagnes, Krug 2008 und Grande Cuvée 164. Édition, resulted in two new songs written, recorded and produced by Paschburg that is inspired by his visit to the Krug vineyards in Reims, France and a musical interpretation of the intricate notes of Krug champagnes.

After receiving an exclusive invitation to taste and listen to the musical interpretation first-hand, SLEEK sat down with Paschburg to talk about his first introduction to music, discovering new perspectives and the changes that continue to keep him inspired.

SLEEK: What was your first introduction to music?

Niklas Paschburg: It was probably as a child, just listening to music with my parents. But my parents told me that when I was four years old or so, I was always trying to play something on the piano at my grandparent’s house even though of course, I couldn’t really play anything [laughs]. At some point, they asked if I wanted to take piano lessons and I started when I was five years old. That’s my first memory of actively noticing music.

S: It sounds like you were naturally drawn to it…

NP: Oh yeah, it was just there. Then of course, over time it became something more and more.

S: When was the moment that you realised that this was your path and not a hobby?

NP: It came slowly. It wasn’t a [particular] day, it snuck slowly into my life. My biggest interest at school was always music. I always tried to be in the school music events, ensemble, whatever. I was already not paying much attention to the other classes so, I just focused more on music. Then at some point, you realise and ask yourself “why don’t I do this professionally?” I think it was between 12 to 18 years old where it became more clear.

S: You were classically trained in piano, is that correct?

NP: Yeah, in the beginning, I was only playing classical music but then at some point, I got a bit…tired of it [laughs]. I think it’s quite normal. At some point, you need a change. That’s why I started playing jazz, even pop music and learning new styles.

S: When did you start exploring electronic music and crossing over different genres?

NP: I think I was 15 when my grandfather gave me a microphone and a little recorder for Christmas so I could record my composition on the piano. That was my first introduction to recording and producing. [Since] computers were already available, I started producing music on the computer and learnt about synthesizers and electronic machines quite quickly. But mixing piano with electronic music was something I did later on. I wasn’t combining piano and electronics from the beginning…back then it was more like producing some hip hop beats for friends…it was just like doing some “electronic music” and the piano was still very separate. I recorded some piano pieces, but nothing more.

S: On the note of different genres, I see classical music as something with an existing structure, there is a way to play it and how you are meant to feel. Whereas, with electronic music, I feel you have more freedom, which makes me think combining the two genres, as you do, are like opposite ends coming together. How do you begin to approach something like that?

NP: There was one thing I always did when I was playing classical music. I remember when I was young, you have your notes and your sheets, which you need to play and practice at home and when I was practising, there would always be a point where I would want to do my own thing, so I wasn’t playing [it exactly]. And my mum would be sitting next to me while I practise and I would start to improvise over the classical music and she wouldn’t even notice. She would say, “that’s very nice, but is it really what’s on the sheets?” It’s nice to have the classical piece, but I want to move into something else and I took it to improvisation. It was just fun to combine different genres together, it was always kind of my thing. I was always trying to do this, even if I was playing classical music. I think learning jazz helped a lot with the improvisation.

S: I imagine having the classical training has still helped you when it gets a bit too crazy and experimental…

NP: [laughs] yeah, taking it down to some basic structure. Definitely.

S: When you’re creating something, it can be an endless project so, how do you know when to stop? It’s easy to fall into the trap of a never-ending process.

NP: It may sound weird, but for me, it’s really easy to finish. I don’t know the English word. In German, it’s ‘Ungeduldig’. You can’t wait until it’s done or finished, so, that’s the feeling I always have. If I start or have an idea, I already have a vision of how it should sound in the end. Of course, sometimes you get stuck and you need new inspiration but I’m not the sort of person who continues to change things over months and months. For me, it’s more like I have a few very productive days then I might need to give it a rest a little bit before I come back to the idea. But I have friends that struggle with it a lot more [laughs].

S: Some people have 10-year projects!

NP: I don’t understand how that’s possible because I don’t have the patience to wait that long! I want to bring it out, share it and then it’s done. Maybe it’s this idea about continuation…when I have so many open projects, I don’t feel like I can move or change because there’s something there that still needs to be finished and it’d be on my mind. I want to keep moving, experiment with new things, see new things…

S: With the new projects, do you see it all as smaller individual projects or do you still see it as parts that fit into a bigger picture?

NP: It depends on the project. I have specific instruments that I always use and sometimes I might expand on that but the roots stay the same. I don’t fear going “too far” and in that way, I never feel the need for continuation or a certain sound or style. I try to focus more on creating the best version of a project.

S: How did the conversation begin with Krug?

NP: One of the representatives from Krug saw me performing at a festival a couple of years ago in Hamburg, then suggested me to the Krug team and they were kind enough to ask me. That’s how it started. I was super surprised and excited of course, because for me it’s a completely new experience, especially, getting inspiration from taste, which I never had before.

S: Exactly, I was curious if this was something you’ve already experienced before…the relationship between taste and music. It must open up a certain new perspective after this collaboration.

NP: It was definitely a new experience for me. Of course, it’s common to take visual inspiration from, for example, paintings, abstract things or nature, which was my main inspiration in the past years. Taste was a very new thing and visiting the Krug House was really amazing. We spent a wonderful day there visiting the winery, really getting the whole picture and taking up the landscape, [the collaboration] felt natural.

S: In this collaboration, Krug asked you to taste two champagnes – Krug 2008, nicknamed ‘Classic Beauty’ and Krug Grande Cuvée 164. Édition and to interpret them. How did this experience differ from composing from your typical inspirations? Were there certain elements of the champagne that struck you?

NP: If you want to compare it to something, it’s like when you’re writing music for a movie like a soundtrack. There’s a very clear picture that you need to interpret, and take the inspiration from there. So, it was kind of the same for the champagnes. There are some notes [of the champagne] to remember. I had a long conversation with Julie Cavil, the cellar master who explained a lot to me since I wasn’t experienced in champagne, and through her, I learnt how to identify these nuances in the champagne – how I can use it, what I can picture. In the end, it’s like reworking something that’s already there.

S: What kind of emotions did you go through personally, when tasting?

NP: With Grande Cuvée 164. Édition, I definitely felt it immediately. Having all these different grapes in one champagne is incredible. You realise how much [flavour] you can taste, which really felt like a “firework”. For the 2008 Vintage or ‘Classic Beauty,’ I couldn’t describe it at first, because it had the strength but wasn’t clear in a way. I didn’t have the right words. That’s why it was very helpful to have a conversation with Julie. And it’s when she told me the nickname that I was like, “oh yeah, that’s it!” But sometimes you don’t have the right words…

S: Then this was a perfect match! To interpret it through music since you had no words for it.

NP: Exactly! From the experience, it was harder for me to describe in words than to write the music. I’m happy that it worked out this way.

S: You’re such a varied musician because you really go through so many different styles and you don’t limit or define yourself into one. And this seems to be reflected in the spaces that you choose to perform in as well. Is this a conscious choice?

NP: I’m not sure what was first. It might be that it’s just happened because I was playing at a lot of churches in the beginning. It was interesting because the acoustic is incredible and of course, very beautiful. My live sets immediately became more atmospheric. On the other hand, I love playing in clubs. I would never do a proper techno set or DJ set but play the music with more power and strength. Whether playing in churches, clubs or festival stages, I love all of them. It would be hard to choose and I don’t want to choose. I don’t want to limit myself to only playing concert halls. I definitely want to have both sides. Adapting to different places you play is more exciting and challenging.

S: Do you ever feel that certain tracks should be or have to be played in a specific setting or space?

NP: Yes, definitely. There are some tracks where I’m already thinking of what kind of space it needs as I’m writing it. Sometimes I choose not to play a certain track in a particular space because I don’t feel that it’s not the right fit for that space. This is definitely something I always have in mind.

S: Who are your influences?

NP: I never really had an idol or a specific artist that I’m in love with. It’s more a mixture of things that I listened to every day. Nature is my main source of inspiration. When I write I try not to listen to any music to clear my head and mind and not be influenced by one person or one style of music.

S: To have your own clear vision…

NP: Yeah, to be pure…

S: When you go back to your earlier tracks, do you still see a lot of yourself or would you say you’ve evolved?

NP: I did it recently and you question yourself on the direction that you’re going and if it’s the direction you want to go. There is still a connection when I listen to my first releases and it reflects that time and moment but I don’t feel the need to convert that to the present – it’s more of a good memory. I’m happy to see that there’s been progression and change.

S: It’s a good sign if you can go back and appreciate it.

NP: Yeah, appreciate is the right word.

Listen to Niklas Paschburg’s new singles here.