In this interview, we sit down with emerging indie folk artist Jan Kalter, whose haunting new single ‘Save Our Souls’, released via Cold Skipper Inc., is carving a quiet storm through the indie music landscape. Lifted from his debut EP No One Bites And No One Barks, which has already garnered over 400,000 streams, the track showcases the German artist’s delicate songwriting and emotive vocal delivery, drawing comparisons to the likes of Bon Iver, Novo Amor, Lord Huron, and Sufjan Stevens. With roots that stretch from secret childhood piano sessions in Nordhorn to grunge bands and ultimately to the introspective sound of indie folk, Kalter is quickly becoming one of the genre’s most affecting new voices.
Read our interview with Jan and listen to ‘Save Our Souls’ below.
Paint us a picture: what sparked your passion for the arts in the first place? Was there a single moment or experience that solidified your decision to pursue this path?
As a child, I spent a lot of time at our neighbor’s house. They had a piano, and the neighbor’s son took lessons and taught me one or two little things. When he went outside to play with the other kids in our neighborhood, I would stay at the piano and lose myself in my own world. It was vast, colorful, and safe there. In the evenings, his parents would send me home with the promise that I could come back the next day. After a while, my own parents realized that I would even go to the neighbors’ house when their son wasn’t home, and so they got me a keyboard of my own, so I could dive into that world at home as well.
When you create, what leads the way – a feeling, a story, or the sound itself?
When ideas emerge, it’s either because an interesting chord progression or melody comes up while I’m playing around, or because I feel the need to get something out of my head—so the initial spark is more about content. Often, both happen simultaneously, with music and lyrics weaving into each other. Sometimes the process is also triggered by listening to music itself—when I hear something and, in my head, it continues differently than in the original track. It can also begin with a scent, a taste, or a memory—something fleeting yet powerful that awakens an emotion, a scene, or a fragment of a story within me, which then unfolds into music and words.
What’s in your toolkit? Share the gear, gadgets, or software you can’t create without.
It’s almost always just me and my Taylor.
What’s your go-to ritual or trick for getting into the creative zone?
Honestly, I don’t really have a fixed ritual. Creativity usually finds me either when I’m completely free of stress and know I have enough time to follow it, or when I’m in a new place that sparks fresh impressions. The golden hour is often when it comes most naturally—it feels like the world slows down just enough to let ideas in.
What’s the one item you always keep within arm’s reach while creating or performing?
I’d say a tuner—I really can’t do without one. If I don’t have it nearby, I’ll just keep tuning by ear until it feels right… or sometimes admit defeat if it won’t get quite perfect and let it be. And, to be honest, a cup of coffee has to be within reach too—it’s part of the process by now.
How did you ultimately end up defining your sound?
I spent a long time searching for the right sound. I worked with different producers, and while they were all talented, I was never fully satisfied—not because of their skills, but either because I wasn’t good enough at describing what I wanted, or because the studio time was just too short to really dive deep. In the end, I was more or less forced to go on that search myself and learn the production steps I needed along the way.
How has your creative process or perspective shifted since you started your journey?
When I was a kid, or even a teenager, the process felt completely intuitive—it was like an extension of my mind, almost like an extra organ that helped me process emotions and grow. As I got older, things became more analytical. I thought that would make it more professional, but in reality it took away some of the magic and created a bit of distance between me and music. After losing my parents, though, I felt again how necessary that “therapeutic” side of creating really is, and I wanted to follow that deep inner call to make music and see what was hidden there. These days, I’m grateful that it feels intuitive again—I don’t need to understand why certain things work for me. They just do, and that’s enough.
Walk us through a recording session: what’s the most memorable moment you’ve had in the studio?
At the beginning, recording sessions used to feel pretty overwhelming for me—stress, high expectations, and perfectionism all pulling in different directions. I’d swing back and forth between wanting to give up and suddenly feeling bursts of motivation. But then there’s that one moment when things finally start to click—suddenly everything fits together, and it begins to glow and feel warm. From that point on, it turns into real joy, and I almost have to hold myself back from doing “just one more take” or adding “just one more sound.” So for me, a session can go all the way from avoidance to not wanting to let go—very contrasting, but that’s also what makes it memorable.
Are there any unexpected or dream collaborations hidden in your work?
So far there haven’t been any collaborations in my work, but if I could wish for one, it would definitely be with Incubus. It might sound a bit unexpected, but they’ve been one of my biggest influences since I was a teenager—I’ve always been fascinated by their unconventional approach to music. And if we’re talking within the genre I’m working in, then of course it would be a dream to collaborate with artists like Novo Amor, Bon Iver, or Sufjan Stevens.
Any side projects you’re working on?
No
Who’s an emerging artist you think deserves more recognition right now?
Matt Bawtree
What’s the strangest or most surprising song currently on your playlist?
South Arcade – 2005
Which song, album or playlist do you never get sick of no matter how many times you listen to it?
Incubus – Morning View
Garden State Soundtrack
Are there any unexpected hobbies or projects you’re exploring outside of your main work?
Cooking, playing Lego, city trips, carving
If your life and career were an album, what would its title be, and what’s the hidden track only your fans would know?
If my life and career were an album, I’d call it Distance Over Drama—reflecting the long search for a safe place to truly be a part of and feel at home. The hidden track would be ‘Laundry Day’—the quiet, almost sacred sound of a sampled washing machine, the smell of fresh laundry… by the time the song comes out, scented music will finally exist.
Give us a glimpse into the future – what surprises or milestones are coming up for you this year?
This year, I’ll start recording a new EP at the end of the year. I’m both looking forward to it and a little nervous to see how it all comes together for release next year.
Famous last words?
Don’t be cool. Be warm
Watch the lyric video for ‘Save Our Souls’:
Follow Jan Kalter:
Website – Instagram – Facebook – X – Soundcloud – TikTok – Youtube – Spotify
