Let’s dive into the cinematic world of Walilamdzi, the instrumental project of Berlin-based musician Nikita Noebel. Known for crafting immersive soundscapes where delicate guitar lines evolve into sweeping waves of emotion, this music sits at the intersection of post-rock and ambient sounds, reminiscent of avant-garde film scores. A striking example of his artistry arrives with ‘Nothing Lasts Forever Anyway’, which lulls listeners in with its lullaby-esque introduction before the track gradually expands into a deeper and darker soundscape. With influences ranging from Gustavo Santaolalla to Neil Young, Walilamdzi values simplicity, honesty and atmosphere above all else. Capturing both fragility and intensity, this beautiful arrangement is built around Noebel’s deft guitar work and is further enriched by long-term friend and collaborator Miro Rabier’s charango, mixing, and mastering. This instrumental track contains gentle warmth and profundity allowing listeners to imprint their own experience on this wordless story. For On The Record, we discussed concepts of impermanence, the importance of collaboration and the art of creating narratives without lyrics with Walilamdzi.
For those who aren’t already familiar with Walilamdzi, can you introduce yourself?
Walilamdzi is the name I release my instrumental work under. It’s guitar-driven, but I see it more as a body of work than just songs – each track tells part of a story, with space for listeners to find their own meaning in it.
The title of your new single ‘Nothing Lasts Forever Anyway’ suggests impermanence, so how does that theme resonate with your life or creative process?
For me, “Nothing Lasts Forever Anyway” is a reminder that nothing stays still – not people, not moments, not (even) songs. Sometimes things end without warning and that gives them weight. The creative process works the same way: an idea shows up, changes form and eventually moves on. And honestly, sometimes those changes don’t make the song better – but that’s part of the ride. The title embraces that fleeting, unpredictable nature.
What does the sonic evolution from a lullaby-esque melody to something darker and more intense represent in terms of your emotional journey?
The calm, lullaby-like part is really just the introduction, but even when the track grows darker, that lullaby quality never fully disappears for me. It’s almost like a dream shifting into something more unsettling – maybe even a kind of nightmare(?). Emotions can work the same way: they rarely stay gentle and even when they turn heavy or complex, there’s often still a trace of where they began.
Can you tell us how the collaboration with Miro Rabier came about? And how his contributions with the charango and mixing shaped the final sound?
I’ve always loved the texture of the charango. Miro bought his in the early 2010s (if I remember it correctly), and ever since then I’ve been fascinated by the way it sounds – especially after hearing Gustavo Santaolalla use it (and its bigger brother, the Ronroco) in so many of his works. For this song, I finished the main recording and then asked Miro to add whatever he felt was missing, just like I did on the last single. I trust his way of playing, because he approaches things differently than I do. His layers brought a new twist to the track, while his mixing gave it the wide, cinematic space I was hoping for.
How have some of your musical inspirations like Daniel Lanois, Gustavo Santaolalla and Neil Young impacted your sound and songwriting?
Each of them has shown me that simplicity can be profound. Lanois with his sense of atmosphere, Santaolalla with his ability to make one instrument sound like a whole landscape and Neil Young with his honesty and raw guitar tone. They remind me to stay true to feeling over perfection. Of course, I sometimes catch myself comparing my music to other artists or genres – and that can make me uncertain. But then I realize my approach is my own. I never cared for flashy solos or technical displays; it was always about serving the song. Sometimes that means keeping a chord progression almost unchanged if it still makes me feel something. Simplicity is the key, even if it’s the hardest thing to fully embrace.
This single also has a very cinematic sound, have you also taken any inspiration from film scores?
Definitely. I love movie scores, but also game soundtracks, which have become really strong in recent years – Red Dead Redemption by Woody Jackson and Daniel Lanois is a great example. Neil Young’s Dead Man soundtrack is another favorite and so are many neoclassical pieces. A soundtrack can make or break a film; I’ve seen movies where the chosen songs felt completely off and it ruined the experience. That makes me respect the role of music in storytelling even more.
Do you think that the setting you record a song in, such as your home in Berlin, also shapes the atmosphere and sonic identity?
I’m not sure Berlin itself shapes the sound of my music. It’s my hometown, and I’ve always lived here, so it feels natural to me rather than something exotic or inspiring in itself. Of course the environment has some influence on how I feel and create, but I don’t think it defines the music directly.
Were there any unusual techniques or sonic experiments that helped bring this track to life?
There weren’t really unusual techniques – but I often record my main ideas very early in the morning. I have a strange sleep schedule, so I end up waking up before sunrise. Sometimes it’s frustrating but it can also be a gift: the house is quiet, the city is dark and that atmosphere often slips into the recordings.
Instrumental music can sometimes feel abstract to listeners, so how do you approach crafting narratives without words?
I think instrumental music can sometimes say more than words. There’s a lot of room for interpretation and even the space between notes can give a feeling or meaning. Everyone will hear it differently and that’s part of the beauty. If listeners can see their own story in it, then the piece has done its job.
Now that ‘Nothing Lasts Forever Anyway’ is out, what’s next on the horizon for you?
This track is the second part of the first chapter. There will be three in total before I move on to a new chapter with a different mood. I have a lot of demos and melodies to shape into songsn and I’d love to see them find their way into films or series. I’d also like to bring this music into a live setting – it might still be just me with a guitar, but I want to make the sound feel right and give people an experience. Eventually, these chapters could come together as an album, though I like to think of each song as having its own distinct parts and story.
You can also listen to ‘Nothing Lasts Forever Anyway‘ in our Outsiders Club playlist.
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