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NILS FRAHM

Nils Frahm

All Encores

    The three EPs will be available as one full length release titled All Encores featuring 80 minutes of music to follow his masterful 2018 album All Melody.

    Whilst 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.”

    Moulded during All Melody but refined by his live performances, All Encores is testament to Nils’ exceptional ability to craft his art on stage. Artificially Intelligent which showcases his ‘mad professor’ organ, and All Armed which has been a live favourite for some time, appearing on set lists since 2015, are now available to hear on record for the very first time. The final track of Encores 3, as well as the whole series, Amirador, perhaps aptly nods to the Spanish word for ‘lookout’ and hints at what’s to come.

    Nils Frahm announces the third and final instalment of his Encores series. 

    Whilst 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.”

    Moulded during All Melody but refined by his live performances, All Encores is testament to Nils’ exceptional ability to craft his art on stage. Artificially Intelligent which showcases his ‘mad professor’ organ, and All Armed which has been a live favourite for some time, appearing on set lists since 2015, are now available to hear on record for the very first time. The final track of Encores 3, as well as the whole series, Amirador, perhaps aptly nods to the Spanish word for ‘lookout’ and hints at what’s to come.

    STAFF COMMENTS

    Barry says: if you enjoyed Nils Frahm's collab with Olafur Arnalds a few years ago (was it really THAT long ago?!) then this is the Encores for you! Percussive, more 'dancefloor' focused (as much as can be), and absolutely hypnotic, this is probably my favourite of the lot, and I have excellent taste. Lovely stuff.

    Nils Frahm

    Encores 2

      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.

      “The idea behind 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 Encores is like musical islands that compliment All Melody”

      STAFF COMMENTS

      Barry says: A beautiful counterfoil to last years' 'Encores 1', we get a wealth of beautifully textured field recordings, icy and crepuscular loops bolstered with beautifully weighted and perfectly paced piano, as is Frahm's style. Encompassing elements of dark ambient and minimalism, this is further evidence of Frahm's domination of the modern classical field, and it shows no sign of slowing down. Lovely stuff.

      System W/ Nils Frahm

      Plus

      New recordings by Danish electronic trio System (aka Future 3) in collaboration with Berlin based composer Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.

      Nils Frahm

      Encores 1

        Encores 1 is five track 12" vinyl EP previously only available as an exclusive, limited release via Rough Trade. It was recorded in Nils Frahm's studio at the Funkhaus in Berlin, as part of the same sessions for the recently released and universally acclaimed new album, All Melody (Official Album Charts #21), released earlier this year on Erased Tapes. 

        STAFF COMMENTS

        Darryl says: Suddenly arriving as a top secret release on Friday morning, Frahm delivers five accompanying session tracks to his rather wonderful 'All Melody' album. Top drawer stuff!!

        Frahm returns to Erased Tapes for his most beguiling outing yet. Kicking things off with the choral solemnity of the brief 'The Whole Universe Wants To Be Touched',  before 'Sunson' excellently displays the sort of percussive demi-trance that he and Olafur Arnalds excelled at in their collaborative output. 'My Friend The Forest' has perhaps the most semblance to Frahm's earlier work, with the gently hammered piano strings being subtly blunted with some sort of preparation. It doesn't sound quite as muted as his seminal work (perhaps the felt has worn out a little), and is unmistakeable in it's  rapid trills, separated by moments of acoustic ambience. 

        'Forever Changeless' is again littered with moments of progressive beauty, but eases off a little on the sustain to give way to a slightly terse atmosphere, beautifully accentuated by Frahm's deft hands before moving into 'All Melody' which couldn't be more reminiscent of the spine-tingling electronic crescendo of 'Says' from 2013's 'Spaces'. 

        With the percussive workout of '#2' and 'Momentum' taking a metaphorical breath from the more upbeat moments, it gives us time to relax and reflect before the mournful military requiem of 'Fundamental Values' gives way to it's own latter resolution and smooth segue into the tropical arps of 'Kaleidoscope' and the soul-soothing slow-mo beauty of 'Harm Hymn'. 

        Another beautiful outing for Frahm, and further evidence of his credentials as one of today's most talented composers. 


        A collection of nine reworks crafted by fans and selected by Nils himself form the ‘Screws Reworked’ re-issue, also featuring his original ‘Screws’

        The 2012 album 'Screws' by Nils Frahm, was the result of inspiration from his fans and friends while he recovered from an unfortunate accident, which saw him fall from his bunk bed located directly above his studio, which resulted in a broken thumb. These nine intimate recordings were offered to fans to download for free and in return fans thanked Nils by sending him their audio and visual reinterpretations.

        Fascinated by the results, Nils then publicly asked his fans to submit their reworks or any form of art that was inspired by the release and all these submissions have been collected since on a dedicated website: screws.nilsfrahm.com. It gave birth to the 'Screws Reworked' project from which Nils selected nine reworks to feature on a special edition re-issue which also includes his original ‘Screws’.

        Helios, Bug Lover and Plasma Rüby are amongst Nils’s final selection for ‘Screws Reworked’, housed in an inner sleeve a visual rework created by Adam Young aka Saturnine.

        “Whenever you have to decide between two things, you end up favouring one over the other. In the case of this record, I had to choose nine out of hundreds of songs – but I didn’t want to follow this logic, I didn’t want the songs to compete against each other. I never liked music competitions, neither when I was a kid playing classical music contests nor today when the best album of 2015 is awarded. Having been in the situation to pick my own tracks for my own records, I knew that the only way to manage this tough job is to concentrate on the cohesiveness of listening to the songs all together. Screws Reworked should sound like a record, not like a random collection of tracks.

        The motivation to make such a record came with the release of Screws in 2012 as a gift to my listeners. I thought about it as a starting point for people to make their own interpretations of the songs. The feedback was overwhelming. A couple of months later, we counted over 300 contributions. Without going through a selection process, they were all available only online until now. It seemed essential to make it a real record as I imagined how happy it must make those who would find their names – in most cases for the first time – on a real record.

        Now is the time to thank you all for your numerous and beautiful contributions. In case you don’t find your track here, please don’t think it stands behind the others. This record means, in fact, that some of the most beautiful songs couldn’t be included as they simply weren’t ‘good neighbours’ and because there is only one rework for each of my original compositions. However all of you opened your hearts and minds and shared your uniqueness with us and I feel incredibly blessed by each and every single rework of Screws. Thank you!” – Nils Frahm.

        Olafur Arnalds & Nils Frahm

        Loon

          Ólafur Arnalds and Nils Frahm reveal third collaborative EP titled ‘Loon’ via joint website – following on from their recent surprise 7” record store release ‘Life Story Love And Glory’ and 12” reissue of 2012’s ‘Stare’.

          Containing five synthesiser-led pieces, ‘Loon’ was recorded in autumn 2014 across five days at Nils’s Durton Studio in Berlin, and continues on from the ambient sounds of ‘Stare’ but with the addition of more percussive elements and dub influences. For this new EP the duo wired an Oberheim 4 Voice and a Korg PS3100 to the mixing desk and performed live takes on both instruments. With all four hands on its pots, all mixes were recorded straight onto 2-track ½-inch tape.

          Like on ‘Stare’, their first collaborative affair in 2012, they simply followed what was laying in front of them, and this time they were driven by some new synths, a kick drum and tape effects. Indulging in dub, the tracks where all performed rather than engineered, with Ólafur riding a few elements on faders and Nils bringing effects in and out. After running several mixes, they went for the five strongest moments from this session. The release was announced on a joint website www.arnaldsfrahm.com together with the launch of an intimate 45-minute studio film titled ‘Trance Frendz’, featuring another seven improvisations.

          “Nils got some new synths and we thought we’d try them out. We loved them so much that we didn’t actually end up using anything else to make these songs.” – Ólafur Arnalds

          “When I was young I was smuggled to Goa parties by my brother. The music played there in the late nineties had a somewhat deep effect on me. ‘Loon’ is almost a blurry memory of these times. In other words, it is what I’d like to remember that music sounded like back then. In fact it sounded probably really cheesy.” – Nils Frahm.

          FORMAT INFORMATION

          Ltd 12" includes MP3 Download Code.

          Composer, musician and producer Nils Frahm steers the new edition of 'Late Night Tales'. 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).

          "I’ve really got off on working on compilations lately. It’s such a wonderful way to delve deep into your music collection. My flat is now crammed with music media of all stripes, from an old hand-cranked 78 phonograph player to 45s and albums on vinyl, my beloved old cassette tape collection, even mini-disks and, lately, WAV and MP3s. It’s all music to me. After spending hours recording from all of these diverse sources, I started to play around with the tunes, layering them, sampling, looping certain parts, extracting phrases and using all the freedom that this allowed me. If I got a little carried away or stepped on anyone’s toes in my quest to do something interesting and original, then I apologise. Some things may have accidentally landed on the wrong speed, while other spooky happening have occurred along the way, whether it’s ghostly additions of reverb and delay or simply subtle edits or reproductions, they’ve all gone into the magical stew I’ve tried to create for your pleasure and edification. I can’t tell you how much fun I’ve had creating this compilation for you but, suffice to say, I hope it will be a nice journey for your mind and heart."

          - Nils Frahm, May 2015


          FORMAT INFORMATION

          2xLP Info: Unmixed double 180 gram Vinyl Version (incl. download codes for the Nils Frahm mix and full unmixed tracks as wav/MP3)

          CD Info: CD Version (incl. unmixed tracks via download as MP3/wav)

          Olafur Arnalds & Nils Frahm

          Stare

            Originally released as a strictly limited 10-inch vinyl record exclusive on Record Store Day 2012, this long sold-out must-have for fans of these two artists will finally be re-issued – this time in 12-inch format!

            Erased Tapes label mates Ólafur Arnalds and Nils Frahm recorded and mixed their first collaborative record between Reyjkjavík and Berlin as a surprise release for label founder Robert Raths.

            The ambient/electronic work ‘Stare’ is a true family effort with long-time collaborator Anne Müller joining in on cello and all graphics created by close label-friend and designer Torsten Posselt of FELD Studios.

            Words by Nils Frahm:

            “I heard ‘Eulogy For Evolution’ for the first time six years ago and I was totally captivated. Impossible to know back then that I was supposed to meet Ólafur many years later as my label mate. Later when he took me along a tour of his we also noted that we kind of like hanging out together, doing important things like cover versions of long forgotten songs or eating veggie pizza. Also he would join my live set for a jam and I would return the favour by playing along with his set.

            All in all, I fell for Óli and after one memorable jam session we had in Berlin at Roter Salon in 2011, he finally proposed the idea to visit me in my studio in Berlin to work on 'some music'. I was happy and delighted about that idea, so we got together in April 2011 and after having a big pizza, I plugged in some old analogue synths and we played for four days until late in the night. Also queen Anne Müller stopped by after a show with Agnes Obel to record some cello at 5 am in the morning for ‘b1’. Making music together with people is lovely!

            The time I spent with Óli in Berlin made me very happy and the music wasn't like anything I have heard before. It was all very reduced and minimal and I felt like I couldn't have done this alone. So we decided to do another 4-day jam at Óli´s E7 studio in Reykjavik. So I flew there in the end of October 2011 to repeat the trick and record some out of this world ambient music. It didn't take us too long to write ‘a1’ and ‘a2’. I can’t wait for the follow up!”

            Nils Frahm has always said that he’s just waiting for something real special when being asked if he would ever score the music for a film. And that’s exactly what German director Sebastian Schipperpresented to him with his one-take feature ‘Victoria’. Filmed in Berlin, Victoria’s plot sees a runaway party girl, who's asked by three friendly men to join them as they hit the town, but their wild night of partying suddenly turns into a bank robbery as the music changes from techno to subdued piano sounds.

            For the recording session at Studio P4 in Berlin, Frahm enlisted the help of long-time collaborator and cellist Anne Müller, violist Viktor Orri Árnason and ambient artist Erik K. Skodvin of Deaf Center on guitar.

            The soundtrack opens with an edit of ‘Burn With Me’ by German producer DJ Koze.

            Dear viewer and listener,

            I’ve finally written music for a film. It took me some time to do so, as I was patiently waiting for a movie that would truly speak to me. When director Sebastian Schipper invited me to work on Victoria, I knew it was worth the long wait. Does such a strong film even need music? I realised it wouldn’t be easy to create a score that embraces these bold pictures.

            Luckily we were given unusual creative freedom by approaching the movie together with Sebastian Schipper, who was keeping the production and direction to one single team. The score was recorded in a special location, the former GDR broadcasting production facilities that today host Studio P4. We simply put a big screen in the middle of the room, filled it with microphones and instruments, set the movie on loop and kept improvising on top of it together – my good friends and I.

            The guest musicians started their recording session by playing a cohesive take over the course of the whole movie. This was the most interesting part of the day, since they hadn’t seen the film before. They became spectators and creators at once, intuitively recording hundreds of different cues that way. You are about to listen to some of its highlights. I hope they do Victoria and your ears justice.

            With love, Nils Frahm.


            Nils Frahm reveals new ‘Solo’ album and the ‘Klavins 450’ piano project on the world’s first Piano Day!

            Berlin-based composer Nils Frahm has fast become know as a prolific performer and recording artist with the piano at the core. Piano Day is an official body created by Nils and his closest friends, and will house various exciting, piano-related projects. The first project revealed by the Piano Day team is the building of what will be world’s tallest piano: the Klavins 450.

            As the life-long dream of David Klavins, it even exceeds the currently largest upright piano there is, the Klavins M370. Situated in Germany, Tübingen, 1.8 tons in weight, 3.7 meters high, its longest strings are about 10 feet in length. And it was on this piano that Nils recorded eight improvised piano motifs in one sitting, which form his new ‘Solo’ album – available for free download on the world’s first Piano Day on the 88th day (March 29, 2015) from www.pianoday.org. Once recorded, Nils began to think of ways to release the album as a gift to his fans, similarly to his 2012 release ‘Screws’, and that’s when Nils came up with the idea of Piano Day.

            With a target of 100.000 euros to reach, Nils eases his fans into sharing their money for the project with this free release. All direct donations and a portion from any record sales will go to the Klavins 450 project until the target has been hit.

            LINER NOTES:
            Situated in Germany, Tübingen, 1.8 tons in weight, 3.7 meters high: the Klavins M370 is probably the largest upright piano there is. Its longest strings are about 10 feet in length.
            This colossus was initially built to evaluate a useful maximum size of the piano. Driven by the assumption that pianos could sound better, David got to work in 1985 and finished his instrument 2 years later. Back then I was 5 years old, having no idea how much I would fall in love with it.
            When I finally met David Klavins and his enormous piano 27 years later, in the very beginning of 2014, I arrived with empty hands. I didn't know what music, what songs I was about to record in the next 3 days.
            Every piano has unique features and certain strengths. Some have more, some have less of them, but there is no bad piano out there, although I do moan about them almost all the time. Some simply hide their secrets better than others. These thoughts made me start to write music when I am with the particular instrument, the tape running.
            The 8 pieces featured on this album were selected out of hours of improvising, happy hours as I recollect. The joy of playing and listening to the sound of the instrument made me play slower and slower, softer and softer, as almost every new note was destroying the immense beauty and sustain of the previous note. I was preparing the instrument with parts of my felt collection, carefully tuning mic positions with the help of my dear friend and recording gear wizard Matthias Hahn and simply playing whatever came to my mind. In conversations about this I am still struggling for words in order to praise David’s instrument. Words simply don’t do it justice, so listen for yourself. With lots of love, Nils Frahm.

            Berlin-based contemporary composer Nils Frahm has built a steady reputation for his intimate, poignant piano recordings, yet they so far only showed a fragment of what to expect from a Nils Frahm concert. Frahm’s heart lies in improvisation, in the magic of a moment where, inspired by the space and the audience, his fingers can 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 have witnessed during his concerts. Breaking the convention of a traditional live album, Spaces was recorded over the course of two years in different locations and on various mediums, including old portable reel-to-reel recorders and cassette tape decks. These moments were later pieced together in his Durton Studio and referred to by Frahm as a collage of field recordings rather than a live album. It Includes surprise moments such as the sound of him banging a toilet brush on the piano strings to create a dub-sounding track. The decision to select takes that have people coughing and cell phones ringing show that his audience is an integral part of every performance. In his own words:

            "What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience. And since the audience is different every night, the music being played will differ too. Every space I performed in has its own magic and spirit." – Nils Frahm.

            Spaces was mastered by the gifted hands of Mandy Parnell.


            Having recorded his last album live in a large, reverberant church, Nils Frahm now invites you to put on your headphones and dive into a world of microscopic and delicate sounds - so intimate that you could be sitting beside him. Recorded late at night in the reflective solitude and silence of his studio in Berlin, Frahm uncovers a new sound and source of inspiration within these peaceful moments: 'Originally I wanted to do my neighbours a favour by damping the sound of my piano. If I want to play piano during the quiet of the night, the only respectful way is by layering thick felt in front of the strings and using very gentle fingers. It was then that I discovered that my piano sounds beautiful with the damper.' Captivated by this sonic exposition, he placed the microphones so deep inside the piano that they were almost touching the strings. This brought a host of external sounds to the recordings which most producers would try their hardest to hide: 'I hear myself breathing and panting, the scraping sound of the piano's action and the creaking of my wooden floorboards - all equally as loud as the music. The music becomes a contingency, a chance, an accident within all this rustling. My heart opens and I wonder what exactly it is that makes me feel so happy.'

            Berlin-based pianist Nils Frahm is already a firebrand in the modern classical world, collaborating with contemporaries such as Peter Broderick, Ólafur Arnalds and Anne Müller. His unconventional approach to an age-old instrument, played contemplatively and intimately, has won him many fans around the world. As announced by Drowned In Sound, he finally returns on October 10th 2011 with the successor to his highly acclaimed solo piano works Wintermusik and The Bells. Released on Erased Tapes Records and entitled 'Felt', the album will coincide with a European tour in November 2011 - a truly memorable and magical live experience.


            Nils Frahm & Anne Muller

            7 Fingers

            Fans of the Berlin based Nils Frahm are by now familiar with his beguiling live shows where more often than not fellow touring artists are encouraged to join Frahm on stage – the likes of Rachel Grimes, Rob Lowe of Balmorhea as well as label colleagues Peter Broderick and Ólafur Arnalds have all obliged with fascinating results. It will come as no surprise then that Nils Frahm, an accomplished composer and producer who signed to Erased Tapes in 2009, has extended his collaborative live musings to encompass the recording studio, working for the first time with noted cellist and fellow Berliner Anne Müller to produce "7 Fingers".

            With their first collective release Frahm and Müller have built a world where modern classical and electronica collide creating an ‘intoxicating and delicious’ collection of songs. Primarily a pianist Nils Frahm provides evidence with "7 Fingers" that he can effortlessly turn electric throwing in loops, samples and glitches to accompany and showcase Müller on cello. Anne Müller, a renowned musician noted for her work with the Wolf-Ferrari-Ensemble, Phillip Boa and recent tours with Agnes Obel, proves an amp musical partner for Frahm. As the recognition continues to grow for Nils Frahm’s previous solo piano works Wintermusik and The Bells, 2011 sees a new side to this young talent as he embarks on a detour into strings, symphonies and glitch beats alongside the estimable Anne Müller.


            Nils Frahm

            Wintermusik

            Nils Frahm, born in 1982, had an early introduction to music. During his childhood he was taught to play piano by Nahum Brodski – a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians. The three instrumentals, which make up his debut release "Wintermusik" are piano led pieces, coloured with occasional celeste and reed organ parts. The record’s equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again. The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes.


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