Nils Frahm Downbeat | Electronica | Leftfield 21 Items

Wintermusik’ was recorded on the 21st and 22nd of December 2007 at Durton Studio. It was originally intended as a Christmas present for my family and friends. ‘Wintermusik’ is 30 minutes of pure improvised piano music combined with celeste and reed organ.

Following the release of Encores 1 on June 1st, Nils Frahm releases of Encores 2, the second in a series of EPs following the release of the universally acclaimed album, All Melody, released in January of this year.

While Encores 1 focused on an acoustic pallet of sounds with just a solo piano and harmonium, Encores 2 explores a more ambient landscape from the All Melody sessions, the pinnacle of which is the astral 12 minute showpiece Spells. Recorded through an amplified stone well Frahm found on Mallorca, Encores 2 is at once unique but familiar; orbiting the universe of All Melody while inhabiting its own world.

If you purchase the record, proceeds will go to help piano builder builder David Klavins build his latest model, the Klavins M450. Frahm's new album was recorded using a prototype of the instrument.

Berlin-based contemporary composer Nils Frahm has built a steady reputation for his intimate, poignant piano recordings, yet they only reveal a fragment of what to expect from a Frahm concert. The artist’s heart lies in improvisation, in the magic of a moment where, inspired by the space and the audience, his fingers create new compositions loosely based around his familiar melodies.

Spaces is an ode to the joy of live performance. It expresses Frahm’s love for experimentation and answers the call from his fans for a record that truly reflects what they witness during his concerts. Breaking the convention of a traditional live release, the album was recorded over the course of two years in different locations and on various media, including old portable reel-to-reel recorders and cassette decks. These moments were later pieced together in his Durton Studio for what Frahm refers to as a collage of field recordings rather than a live album.

Spaces includes surprises such as the sound of a toilet brush banging on piano strings to create a dub-sounding track. The decision to select takes that include the sounds of people coughing and cell phones ringing make clear that his audience is an integral part of every performance

Acclaimed composer and producer Nils Frahm is surprisingly releasing a new solo piano album on 1 March: Day is the first release since his three-hour ambient epic "Music For Animals" from 2022. The six new tracks will be released via Leiter and will be available in a limited edition on vinyl as well as via all digital platforms. The album was recorded in the summer of 2022 in complete seclusion and not in his usual studio in Berlin's Funkhaus. The first single "Butter Notes" has already been released and the album is available to pre-order now. Day may come as a surprise to those who have followed the process of Frahm slowly moving from the distinctive piano compositions with which he first made a name for himself to a more complex and elaborately arranged sound over the last ten years. Indeed, Frahm has never been able to resist returning to his first love, and so fans of earlier successful albums such as "The Bells", "Felt" and "Screws" will also enjoy Day. Day is the first of two albums that Frahm has planned for 2024. The recordings are characterised by a familiar mood and prove that Frahm - even though he is best known today for his epic concerts in which he uses a whole collection of pianos, organs, keyboards, synthesizers and even a glass harmonica - is still a master of simple and tender tones.

Few paper scuffs. cover is close to NM. With insert

Piano Day 2021 sees Nils Frahm surprise the world with his Erased Tapes debut. Wait, what? How? Anyone who has seen the trail blazing sonic pioneer live will know Nils likes to deadpan a joke. Graz is in fact the first studio album he recorded for the label back in 2009, that somehow remained a secret… until now. Nils Frahm has quietly changed the musical landscape, reincarnating the centuries old figure of a pianist-composer for a new generation of music fans. As Nils’ word-of-mouth popularity grew and grew, so did the pop-culture profile of his instrument. He founded Piano Day with a team of like-minded friends in 2015 to help that process, some years releasing an album of piano recordings to celebrate one of humankind’s greatest inventions. Graz is one such record; an unheard snapshot of a young Nils recorded at Mumuth, the University of Music and Performing Arts Graz, in 2009 as part of the thesis Conversations for Piano and Room produced by Thomas Geiger, which received an award in the Classical Surround Recording category at the 127th AES Convention in New York. Whilst at the time it was decided to keep the grand piano recordings from the Graz sessions locked away and instead focus on his close mic’ed, dampened piano explorations which would become his acclaimed studio album Felt in 2011, two of the pieces — most notably Hammers — lived on as part of his live set, and were expanded on and re-recorded as part of his breakthrough 2013 record Spaces (a collage of field recordings from concerts which broke the Fourth Wall and included audience coughs). Over his mercurial career, Nils has pushed and pulled at the boundaries and parameters of his prolific work like that. He’s physically changed his piano (the softened prepared strings of Felt) played with a modified body (Screws recorded with 9 fingers and a broken thumb) played with scale (Solo recorded on the 3.7 metre high Klavins M370) and with the different layers of formats (last year’s Tripping with Nils Frahm nested his studio setup inside a live performance, concert film and live album). Now with Graz he has found the final frontier for play: time itself and his own discography. Graz is a moment of time at the very beginning of Nils’ quiet revolution. The essential genius is already evident; the harmonic language of classical, and the immediacy of jazz. Nils seems to pull down each idea moment by moment, gently, to not scare away the muse. He describes: “sometimes when you hear a piano, you might think it’s a conversation between a woman and a man. At the same time, it can hint at shapes of the universe and describe how a black hole looks. You can make

While Encores 1 focused on an acoustic pallet of sounds with solo piano and harmonium at the core, and Encores 2 explored more ambient landscapes, now Encores 3 sees Nils expand on the percussive and electronic elements in his work.

“The idea behind All Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of All Encores is like musical islands that compliment All Melody.” — Nils Frahm

A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm's Late Night Tales haunts and beguiles. It’s not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted.

Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound's ‘Mango Drive’ adding to the haunting hypnosis, while choral interruptions aid Miles Davis’ ‘Générique’ on its journey towards the light. Meanwhile, on Boards Of Canada’s ‘In A Beautiful Place Out In The Country’, the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend's cat Cleo transitions playfully between Nina Simone's definitive version of 'Who Knows Where the Time Goes' and unearthing the gentle electronics of Dub Tractor.

Eddy Arnold’s ‘You’re The Only Star’, a country tune that sounds like its transmitting from a mid-west diner wireless circa 1947, is straight from the soundtrack to an imaginary David Lynch movie, comforting and dismaying all at once. This crackly reality abounds, as on Finnish band Gentleman Losers’ ‘Honey Bunch’, that adds an unsettling texture, with a sound that is modern but as nostalgic. Frahm's own tracks bookend the mix, opening with an inspired "rework" of the infamous silent John Cage piece '4:33' ("I sat at the piano in silence and worked from there. I listened and took in the atmosphere and this is what came out of it") and ending with a solo piano version of 'Them', taken from his recently released score of the film 'Victoria'. The traditional Late Night Tales spoken word epilogue is voiced by actor Cillian Murphy (Inception, Batman, 28 Days Later), reading a short story by Edna Walsh (Hunger, Disco Pigs).

Limited edition for Record Store Day 2012!