Born in Haltern am See on November 29, 1979, Thomas Klak grew up in Marl. At the age of six he took his first piano lessons with Hungarian Gilel’s student Istvan Nagy as teacher.
Since the age of 14 he has been playing keyboards in different Metal bands.

In October 2000 he began to study Music, German Studies and Educational Science at the university of Duisburg-Essen to become a teacher. After that he studied the piano in the connection with Musical Education in the class of Arnulf von Arnim at the Folkwang-University, department Duisburg.

Since October 2009 Thomas Klak is teaching Piano and Piano Improvisation as lecturer for special tasks at Folkwang University, Essen.

About the work on Slow Acting

In early 2017 I realized that something had to change. A lot of things as well as the way I dealt with them did not work out and eventually led to nothing. Work, ideas and projects were stuck, paralysed. My thoughts were clotted on slips of paper – I felt under pressure, I felt complicated – it was too much, manually out of reach.

I turned towards my drafts that I had been gathering for years in countless mp3s on my handheld recorder, my computers or on my mobile. All of them improvisations of moments that had been a priori – that I had experienced before. Before the utterance of a „now make it real“.

In this very moment something seemed to really work. It was uncomplicated. In the here there was something open, something that worked. A way in could be felt physically, I was into it, could listen to it, was involved, could feel movement and had to do nothing to do so. I needn’t create anything or had to acquire technical skills to move on. I was free and could play – to me this was full of meaning. In the here it was simple. In the here there was a piano, a microphone, often coffee and always cigarettes.

The music that evolved – pop music, intuitive, melancholic, like a soundtrack, like a song – was simple to define. But the quality of the playing from which that music arose was the thing that apparently mattered – and this became my first concern.

My second concern is to release these moments. I want to share them with other people – I want to release the things that evolved in that moments of sensation.

The release is not an easy step for me. But it is fertile. It is a self-analysis with old approaches. I can – I must get rid of those clots of paper – and I am just beginning to understand that I am allowed to do so. Something works out, slowly – but it works.