Muito Kaballa // The Eisenberg Review Interview
There’s a sense of flowering across time in the music of Muito Kaballa — an organic, unhurried growth that feels as natural as it is intentional. What began as Niklas Mündemann’s one-man loop station experiment on the streets of Cologne has, over the years, expanded into a full-fledged ensemble whose music bridges continents, histories, and genres. Afrobeat grooves, Brazilian percussion, jazz improvisation, hip hop swagger, and indie-pop textures weave together across the band’s catalog, creating something that resists easy categorization but pulses with life.
With Tomorrow A Flower, out now on Batov Records, Muito Kaballa offers perhaps their most refined and emotionally resonant work to date. While previous albums leaned heavily into jazz and Afrobeat, this record opens the door wider — inviting in lush soul arrangements, shimmering electronic touches, and a pop-forward sensibility that never sacrifices depth for immediacy. Across collaborations with artists like Petite Noir and Jermain Peterson, the album asks tender questions about love, friendship, and self-discovery, carried by rhythms that feel both earthy and cosmic.
In my conversation with Niklas Mündemann, we explored the evolving vision behind Muito Kaballa, the conversations between tradition and innovation present in their music, and how it can offer a space for possibility — a reminder, perhaps, that even in uncertain times, tomorrow holds the promise of something more.