Nearly two years have passed since Niklas Paschburg presented his critically acclaimed debut album Oceanic in February 2018. Niklas’ musical ideas have crystalized and become cogent through a combination of extensive live performance - playing over 100 shows in the last two years - and experimentation in his Berlin Studio. Written between 2018 - 19, his second album Svalbard is released via 7K!. Niklas’ use of the piano; electronics (synth and computer) and his Grandfather’s piano accordion allow him to communicate via a number of musical traditions and languages. This versatility has allowed him to work on a variety of projects ranging from an inspired reinterpretation of Bach’s Preludes in C Minor (Blooming), to well received remixes for pop artists such as RY X and Asgeir.
Svalbard was written in the winter of late 2018 to 2019 on the Norwegian archipelago, far away from his birthplace in Hamburg. The islands are isolated and their relatively rapid changing landscapes, display immediate and visible effects of climate change. These thoughts weigh heavily in the heart and mind of the 25 year-old artist, whose process was enriched by the environment which he chose to write in. Niklas was at once ensconced within the dark azure palette of winter - a piano waited for him and he brought Grandfather’s Accordion and a new Electric Harmonium along with a small number of other instruments.
Once Niklas had finished writing, he took these compositions to Andy Barlow of Lamb (U2, Fink and Willie Nelson). In Brighton they worked together and Andy recorded, produced and mixed ‘Svalbard’ it into its final state. Svalbard opens with If, a song which articulates the traces which these environments have left in Niklas’ mind - something pressing is present in the music. All these impressions come from a piece of music which is both melancholic and positive, something which can cradles us from anxiety. ‘Svalbard’ balances a turbulent outlook with peaceful embraces. A relationship inspired by the Norwegian archipelago - situated in the Arctic Ocean, a place where climate change - an issue dear to the German composer and his generation - is most evident.