Meet Michael Klubertanz, a German composer who has transitioned from a classical conductor and pianist to a film score composer with over 60 films under his belt. Now embarking on a new path as a recording artist, his latest album, MUSIC FROM CLOUDS, is an experimental venture that breaks free from the constraints of film. With influences ranging from classical composers to rock/pop groups and solo acts, Klubertanz is a musical chameleon who loves to surprise his audience. His work often includes unconventional elements, like optically synthesized cloud photographs or pathology instruments as percussion. As he looks to the future, Klubertanz is excited about further sonic explorations, including an upcoming album featuring real astronomical sounds. Dive in to discover an artist who believes the journey alone is worth it.

Interview with Michael Klubertanz

Tell us about yourself, who are you and where do you come from?

I am Michael Klubertanz from Germany. After training and working as a classical conductor and pianist, I made my life long love for film scores a reality and have meanwhile composed music for 60+ films. In addition to the soundtrack albums I already published, I wanted to start out on a new path as a recording artist. My new album MUSIC FROM CLOUDS is the first result, experimental music without the restrictions of film.

How was your passion for music born? Who are your idols?

Music was always in the air for me although I was not born into a musical family. I started playing the piano very early and keyboards of all sort have stayed my forte. I devoured all sorts of music, piano solo, opera, film scores, Jazz, you name it. Over the years, many influences have made their impact on me. Of course all the classical composers, but also scoring heroes like John Williams and Jerry Goldsmith, rock / pop groups like Queen, Supertramp, Jethro Tull, Alan Parsons Project, solo acts like Tom Waits and Holly Cole.

What kind of music do you do?

I am producing mostly acoustic and orchestral music when I write for the screen or TV. When I am allowed free reign, things can go wild. I love to include selfmade samples into my scores and have worked with coffee-to-go, beer bottles, pingpong balls, pathology instruments and other weird stuff. MUSIC FROM CLOUDS goes another way, using optically synthesized cloud photographs. The results of this process are ranging from ethereal to threatening.

What is the most important song for you? What message do you want to convey to the listener?

One of my all time favourites is “Know Who You Are” by Supertramp. Speaking of myself, I am to much of a musical chameleon to have a consistent message.

Why should a listener who doesnโ€™t know you listen to your music?

In order to be surprised! I am always trying to dig deep into the story (when writing for film of course) and finding the DNA of characters and situations. That may result in delicious strangeness, like a Bossa Nova where all the percussion is pathology instruments. (This actually ran in German TV at prime time, no kidding.)

What are your future projects? Where do you see yourself 5 years from now?

I would love to experiment more in the direction that I am going at the moment, finding an expressiveness which is more free than when writing in sync to a film. I am preparing an album with real astronomical sounds worked and programmed into musical instruments. This kind of sonic exploration is inspiring and intimidating at the same time as you never know where you might end up. But the journey alone is worth it!

Tell our readers a funny episode that happened in your career as an artist.

The question wasn’t answered!