Josch Becker and Finn Gronemeyer’s debut record as Zimmer90, ‘Interior,’ is an act of radical hospitality that invites listeners to move things around, leave something behind, and stay awhile.

Stream: ‘Interior’ – Zimmer90

We like to make music in places that feel normal, that feel like a home. We like to be in a kitchen, or a room with big windows… We just need a place where we feel the vibe. It is not important for the sound to be perfect or the speaker to be the best.

* * *

Home is very important to Josch Becker and Finn Gronmeyer.

Ironically, I saw the duo’s faces for a few seconds before the Zoom screen went black. Josch was in the passenger seat and Finn was driving the van. Where they were going, I can’t remember, but leave it to this duo to be on the road. Recently wrapping up an international tour, the two have been caught in the post-viral moment whirlwind. This twenty-first century phenomenon broadened their horizons, both literally and figuratively.

Interior - Zimmer90 — Interior – Zimmer90

Now, Zimmer90 can see a bit clearer. Interior (out September 19, 2025) is an act of radical hospitality. The record opens the doors and beckons, “Come on in!” to anyone searching for respite.

Zimmer90 have big plans. Eventually, Becker and Gronmeyer want to expand the project into a multidisciplinary creative platform, “not just a band, but a space for curating, collaborating, and feeling.” The record lays the foundation for precisely that. Move things around, leave something behind, stay awhile.

The duo spoke to Atwood Magazine about crafting their debut album as a musical and mental blueprint, one that reflects their sense of creativity and calm.

— —

:: stream/purchase Interior here ::

:: connect with Zimmer90 here ::

— —

A CONVERSATION WITH ZIMMER90

Atwood Magazine: The experience of music is very important to Zimmer90. What are some musical experiences that have stuck with you?

Finn Gronemeyer: Once, I was out in Berlin at a party –

Classic German answer.

Finn Gronemeyer: Exactly. So I went to Berghain…

Have you ever gotten in?

Josch Becker: Yeah.

What were you wearing?

Finn Gronemeyer: I was in joggers. (laughs)

My theory is you wear whatever looks easy to take off and they let you in.

Finn Gronemeyer: I see your point. (laughs)

How was it?

Josch Becker: It was crazy. They had such a good sound system. We just wanted to go to experience that.

Finn Gronemeyer: It was the loudest thing I’ve ever experienced. When we came out, it was like coming down from a drug. Everything in there is so dialed up and loud.

I went out dancing one night. A guy spinning some minimal techno vinyl. Sometimes there were four vinyls at once and he was creating the beats on the spot. Because of this method, you couldn’t tell when a song stopped or started. It was like a trance. I’d love to do something like this at some point.

Josch Becker: For me, I had an experience when I was very young. My mother played in a classical orchestra and it was the first time I got to see a full symphonic orchestra. It blew my mind as a kid.

Where did you record?

Josch Becker: We like to make music in places that feel normal, that feel like a home. We like to be in a kitchen, or a room with big windows. We are not the guys who go into a basement studio with perfect acoustics, we just need a place where we feel the vibe. It is not important for the sound to be perfect or the speaker to be the best. That’s why we wrote this thing in ten different spaces. We were in the French countryside, our Freiburg studio. Some songs in Berlin, some songs on the road.

Can you hear a difference in the tracks based on where they were written and recorded?

Finn Gronemeyer: Yeah, sure. Two songs that stand out are “Feel Myself” and “Wait for You.” We put them together as a double single. These were written in an old farmhouse in the French countryside. That was a really special place. We started to feel an instant peace. I think you can feel that in the record as well. We spent our days going on long walks and doing what felt right.

There is a sense of minimalism in your music. Have you always been drawn to this musical approach?

Josch Becker: We are fascinated by synth pads. Nearly every song has a little pad in the background. We also love drum and bass grooves. Our songs feature this groove and have different synthesizer textures. It’s pretty cool because when there isn’t much melody besides the vocal, there is a lot of space, and you can feel the warmth of the chords in the background.

Can you tell me about the choice to release “Til the Morning Comes” as a single?

Finn Gronemeyer: I think that one feels a bit different for us. We have this, what I call, an “anti-drop.” Normally a chorus opens with more instruments and more power, but we fall down to just kick bass and vocal. I think it’s our most energetic song ever. It has something in it.

How did the pressure of going viral affect this record?

Finn Gronemeyer: We definitely could feel a change. You fall under the illusion that you have to deliver. But we decided that this was not a reason to change our intuition or our feelings. I think we needed time to work through that. Now we are at the point that we are connected to our intuition again, and we feel outside of the trend and viral hype. We are always searching for songs that are special, but not necessarily for marketing or for the radio. We are always hungry for something new, exciting, challenging. As long as it hits that spot for us, we are fine.

Do you remember your initial reactions to the news?

Josch Becker: I remember it very well. It’s a strange feeling to look at your phone and messages are coming in. You get addicted to it. You start to look at your phone every hour. It’s like posting on Instagram but more extreme. It’s a strange feeling to look at those numbers. You can’t wrap your mind around it.

Finn Gronemeyer: In the band we delegate tasks. Social media is Josch’s task. I’m really grateful to him for taking on this big part of the whole thing. I was not as affected by it. My phone did not go crazy every second. I felt it more a few weeks afterwards, when I felt things go down. It felt that I missed the top of everything. We knew we couldn’t fall into this trap of feeling that we had peaked.

You have said that “Zimmer90 is essentially an imaginary place. This room looks different every day… for every record, we enter Zimmer90 from a different perspective.” How did you harness this vision in your debut album?

Finn Gronemeyer: We set out to create a space for ourselves this time. We had so much on our plate for the last two years with touring. We appreciated the opportunity, but it was fast-paced and we had to adjust to it. We needed to create a more calm space for ourselves, something we could tap into no matter where we were. Whether we are in a kitchen in Mexico or a studio in the States, we wanted to feel at home.

— —