We explore the journey of Berlin-based artist Anna von Raison, more commonly known as AVR—who is establishing her unique sound in a city rich with musical diversity. Trained in classical piano and jazz from the age of nine, AVR’s production and subsequent work are characterized by her impatience and dissatisfaction with being confined to a single genre, which has driven her quest to find her niche in the musical landscape.
“I aimed to discuss emotions in a way that resonates with others without making it solely about my experiences. I believe most of what I experience is universal, so I wanted to create music that reflects that.”
AVR shares her current feelings in the city, aspirations, the resonance of the recent release of her Salvation LP, and where she will be taking us next. Anna blends the candor of tradition with the restlessness of her genre exploration—let’s see where her keen ear and philosophy of bending and merging sound are taking her and her industry going forward.
Rahim: So, first things first, how are you feeling? How’s Berlin treating you these days?
AVR: I’m good, thank you! I feel like Berlin in the summer is very welcoming, but change is in the air and there is more pressure. It used to feel so open, with a lot of unused space where anyone could initiate projects. Things are becoming more expensive, but no one’s really earning more money. It’s far from being like New York or London, but you can still sense the change. Much of the housing is only accessible to those with generational wealth or those who work corporate jobs. It feels a little paralyzing for many.
Rahim: Well-rounded thoughts there. So, what spaces or rituals do you turn to that help you feel safe or grounded in a city that's changing so much?
AVR: In recent years, a great community has formed around Brewery Studios. It’s a large analogue studio next to KitKat, home of the Analogue Foundation and Soundwalk Collective, who work with artists like Patti Smith and Nan Goldin. It’s the intersection of arts and music. There are also many 'crossover' black music projects happening there: Jazz, Soul, and Hip-Hop in a band context—similar to what’s been happening in London for quite some time. The community surrounding the studio and the vinyl bar "Bar Neiro" has been truly uplifting. As someone who has been immersed in Jazz and all kinds of black music throughout their life, it’s exciting to witness this moment. I always felt like Berlin was missing this, alongside the amazing scenes and festivals like PAN, Berlin Atonal, and CTM.
Rahim: You mentioned your upbringing in music and jazz earlier. Could you talk a bit more about that?
AVR: Sure! I started with classical piano when I was nine, but my mom always had a wide taste in music. She’d play everything from Yehudi Menuhin and Mozart to Donny Hathaway, Stevie Wonder, and Whitney Houston. She was also into more experimental stuff like the Mahavishnu Orchestra and Brian Eno. Our house was always filled with music, and she was a radio host, so she was constantly exposed to different genres. At 14, I saw Herbie Hancock live for the first time, and I fell in love. I’d already been enjoying Jazz, but seeing him perform made me realize I had to learn and understand it. I continued with classical piano, even through university, but Jazz became my main focus. I studied in Amsterdam and New York, where I had the chance to work with Jason Moran for a while, which was incredible. Jazz became my biggest passion, even though I knew it wasn’t a financially smart career choice. But I just couldn’t imagine doing anything else, which might sound strange at 14.
Rahim: Sometimes, you have to trust your passion.
AVR: Exactly! I knew it might not make sense financially, but I had to follow that path.
Rahim: I can see how your background in jazz and classical music has influenced your work, but your current music seems to blend and break genres. Where does that come from? What are you trying to express with your music now?
AVR: That’s an interesting question. It’s always hard for me to explain, especially when people in the industry, like labels or agents, ask who artists with similar sounds would be. Of course, I’m inspired by many artists, but I don’t know anyone doing exactly what I’m trying to do. People have mentioned names like James Blake, Grimes, FKA Twigs, Sophie, and Dean Blunt, which can be quite a mix, lol. My issue with genres is that each one feels incomplete to me. In classical music, I found the rhythm lacking. In Jazz, I got frustrated with how often compositions were abandoned in favor of long improvisations that weren’t always profound. Pop, on the other hand, has great simplicity, but it can be too predictable or lacking depth or layers. I wasn’t into the singer-songwriter genre either because it often felt too sentimental, focusing on the artist lamenting their personal story. I wanted to talk about emotions in a way that connects with people, but not to make it all about me. I believe most of what I experience is universal, so I wanted to create music that reflects that. So, I pull from different genres to create something I feel is missing. From Pop, I take the strength of a song’s structure and the impact of melody. From Jazz and Soul, I bring in rhythm and complex harmonies. From experimental electronic music or film scores, I love to explore more abrasive or unconventional soundscapes. It’s only in combining all these elements that it feels fulfilling to my ears.
Rahim: What’s it been like for you, especially as a woman in jazz? Or, more broadly, how do you navigate being an artist but still getting labeled as a "female artist" rather than just an artist?
AVR: Right, right. It's tricky because different women have different experiences, but overall, in the jazz world, women are still underrepresented—especially instrumentalists. Most women in the scene are vocalists. I grew weary of that. The jam session culture can be quite showy. You really need to have a certain temperament to thrive in that space. I used to go to jam sessions, often as the only woman or one of two, and there’s so much attention. The moment you sit at the piano, people often think, "What is she doing here?" Suddenly, all this pressure piles on you. For some, it might be a challenge, a chance to prove themselves, but for me, it was just overwhelming. I didn’t have the confidence for it. Sometimes I think maybe I should have tried harder to be a 'role model,' but there was too much discomfort in the process. With music production—whether it's working for brands, in film, or on my solo project—it’s a more comfortable environment for me. I get to work by myself, without the ego battles you face in live settings. I prefer that natural flow of collaboration rather than always having to fight for space or deal with unnecessary attention based on my gender.
Rahim: I can imagine. And in the broader music industry, what has your experience been like as a woman?
AVR: Things are definitely changing, and I’d say they’ve never been better for women in the music industry. But there are still issues. For instance, when I reach out to booking agencies, labels, or even the rare music journalists, I often find myself writing mostly or exclusively to men. That says something, right? You start to notice that the imbalance is still very real, and of course, every woman has had those moments where a meeting starts off professional, as if it’s about business, but then you realize it’s not really about business at all. It’s tiresome. It’s not even shocking anymore; just boring and a complete waste of time.
Rahim: You’ve moved beyond being offended, and now it’s more like, "Really? We’re still doing this?"
AVR: Exactly! It’s not about being offended anymore—it’s just, "Why are we wasting time?" But you know, as women—or anyone in the FLINTA (female, lesbian, intersex, non-binary, trans, agender) community or other minority groups—we have to stick together. The goal is to create more opportunities and build a strong community that ensures everyone has a chance.
Rahim: So, despite these challenges, do you still find empowerment in being yourself in the industry? Do you feel hopeful that you could be a role model for future generations?
AVR: Honestly, I’m not sure how far things will go within my active lifetime. If you look at film composition, only one woman has ever won an Oscar in that category. The industry remains dominated by men, particularly in niche fields. Only around 2% of film composers are women. And it’s not just about gender—it’s also about race. How many people of color have won Oscars for film music? The answer is none. It’s the same issue across different minority groups, plus the reality that creation in music has historically been a male-dominated field, with very few exceptions like Clara Schumann or Nadia Boulanger. However, it’s important to focus on the positives; the change is palpable.
In terms of empowerment, I think I’m at the beginning of a larger process. It might take more time than my career will allow, but I hope the next generation will benefit from the groundwork being laid today.
Rahim: I completely get that. As a person of color, I can relate to the slow pace of change, where progress is being made, but there are still constant reminders of how far we have to go.
AVR: Exactly. The discourse has shifted, and people are acknowledging the problems, but the power structures—the real opportunities—are still largely closed off.
Rahim: Right, and sometimes it feels like there’s tokenism involved?
AVR: Exactly! They’ll give a couple of positions to women or minorities so no one can say anything, but the most significant opportunities remain inaccessible.
Rahim: You’re working on a new LP, I believe, but you released “Salvation” in June. Can you open up a bit on that?
AVR: My first album, Salvation, came out in June and is supposed to be a bit of a musical retreat in a time that makes many of us lose hope. 'Salvation' in the sense of liberation and protection from harm. Before that, I released two EPs. The LP closed a trilogy: from Hallucination (EP1) to Vibration (EP2) to the final: Salvation (LP1). I did the LP release concert last week at Kantine am Berghain, and now I am already working on the next EP. I have more freedom now that the trilogy is complete. The new EP will be a bit more up-tempo.
Rahim: What’s the timeline for the new EP? When do you plan to release it?
AVR: I wanted to release a single this autumn, but it feels too soon after the last release, so it will likely be delayed a bit.
Rahim: What direction are you taking in terms of sound design and voice in this new project? You mentioned it would be more up-tempo?
AVR: Yes, more up-tempo, and it will probably lean more towards the electronic side sonically. My goal is to keep the production as simple as I can manage. I tend to overproduce, adding too many details, which can be overwhelming. I want to challenge myself to see how minimal I can go while still being satisfied with the result for this record. But who knows?
Rahim: I remember a chef who was training me once told me, “Less is more.”
AVR: Exactly. There’s also the quote, “Simplicity is the ultimate sophistication,” which I believe in. Though I also appreciate baroque, which is very ornamented. It’s about finding the right balance.
Rahim: Even when something is baroque and complex, the synchronicities within the elements can create a kind of simplicity.
AVR: Yes, achieving depth with simplicity is the goal. It’s about the quality of what remains. Like with cooking, if you use just a few ingredients, they need to be the best quality.
Rahim: Yes, selecting a few key ingredients and working with them deeply. I’m really excited to hear your next release.
AVR: It’s nice to hear. The current LP was quite ballady and more of a release of tension from the first two EPs, which were more beat-oriented.
Rahim: Which of your works are you most proud of, or which collaborations have you enjoyed the most?
AVR: One of the moments I’m most thankful for was working with Philip Glass. It was an opportunity I never dreamed would arise. I asked for permission to release my rework of his 'Etude No.2', and his label ended up wanting to release it, which was unexpected. The experience with Mugler and director Alex De Brabant for the video was also amazing. In hindsight, I feel I could have refined the work with Philip Glass a bit more. Knowing it was on Philip Glass’s label, I might have approached it differently if I’d known earlier.
Rahim: I understand the feeling. It’s a missed opportunity to present it in a different light. But I guess you can’t look at it that way, regardless of frustration.
AVR: Yes, I wish I’d known. But it was still an incredible achievement for me, and there might be more collaborations coming in the future.
Rahim: Any last thoughts?
AVR: I hope to reach a point where I can sustain myself solely from my artistic work and keep collaborating with my community, without constantly rushing shoots or studio time due to financial constraints. I think that's my main goal, like most artists. But I also recognize that being an artist is a significant privilege in our world.
