Nils Frahm – Felt

I have raved about the music of Nils Frahm in the past on this blog.  His previous solo record ‘The Bells’ was a beautiful work and then his collaboration with Anne Muller entitled ‘7fingers’ was a stunning piece of music,which made it into my top 10 records of 2010.  In addition, I was even lucky enough to get to interview the man himself, thanks to Robert at Erased Tapes.  So, to say that I am a fan of his music would be an understatement.  Indeed, seeing him live, supporting Balmorhea last year was mesmerising.  It’s not often than you get to witness somebody so masterful on the piano in such close proximity.  Simply put, I think he’s a stunning artist.

‘Felt’ is by far and away is most accomplished and mature record to date.

Simply put, this record is sublime.  It is delicate. Hushed.  Serene.  And quite ironically it appears that Frahm stumbled upon the ideal sound for the pieces in an attempt to be a good neighbour.  In his attempt to work late into the night, yet respect his neighbours, Frahm designed methods of dampening the sound of his piano.  Using the damper pedal, placing fabric over the strings of the piano, playing very lightly so as not to disturb his neighbours slumber.  In so doing, he created the sound for this record.  And it’s stunning.  It’s very much a late night record.  It’s a record that needs a glass of red wine and a very comfy sofa/bed.  I can completely connect with this record.  Perhaps because I love a great piece of piano music but perhaps even more so because I love to play piano late at night.  I used to always try and play it when I lived at home after my parents were in bed and the only way to do this effectively was to use the damper pedal and play very delicately.  It really creates such a wonderful ambience.

This is warm and delicate music, but do not be deceived because once again it highlights Frahm as a stunning composer capable of constructing and arranging gorgeous movements on the piano.  This is not simple music.  This is extremely intelligent and beautifully arranged and once again Nils Frahm has put forward a contender for my top 10 records of 2011.

You can and should check out Nils Frahm here.  Enjoy.

 

Dear Santa

All I’d like for Christmas this year is:

1.  People to start buying records again.

2. A record label to put out the second Kays Lavelle record.

3. A record label to put out the first Graveyard Tapes record.

4. A record label to put out the new glacis work.

5. A pet koala.

That’s all.  thanks.

Graveyard Tapes

For all those who have shown an interest in the music I have released in the past.  Whether that is through The Kays Lavelle or as glacis, please check out this latest offering.  Graveyard Tapes is me and Matthew Collings.  The track is a kind of demo.   It’s not the finished version.  But it is available to download for free as part of Kowalskiy’s monthly music give away.  Hopefully people will like it.  Matthew and I are working on a whole bunch of songs at the moment with a view to releasing some music in 2012.  We are not sure what form that will take as yet – album or ep.  It’s still up in the air.  And we are on the look out for a label to work with us.  It may all end up on mini50, but if there is a label out there who hears the tune and is interested then please do drop us a line.

In the meantime, pop over to Kowalskiy’s blog and download this months give away, featuring some lovely tunes and us…..

I’d Happily Take All Those Bullets Inside You And Put Them Inside Of Myself

So The Antlers were great.  What I saw of them anyways.  I cannot get my head around it.  Why on earth on a 2 band bill would you open doors at 8.30pm and then not have the Antlers on stage until 10pm? Playing a set of 1 hour and 45 minutes meant they finished at 11.45pm.  The last train to Edinburgh is 11.30pm.  So, being realistic, you have to leave at about 11.15pm at the very, very latest to have a chance to make the last train home.   I was gutted.  I had not looked forward to a gig so much for a very long time, so to miss almost 40 minutes of their set was pretty hard to take.  And it’s not the first time it’s happened with Tuts.  When I went to see Grand Archives earlier this year they started so late that I got to see 3 songs of their set before I had to run!  DF added a 4th band to the bill that night – obviously to try and shift more tickets.  At least with a 4 band bill there is an explanation to why the headline act start late.  But if there is an explanation as to why “Scotland’s Best Live Venue”  had The Antlers starting so late that anyone needing to run for a train missed so much of the band’s set, then I’d love to hear it.  I know people moan about early starts in Edinburgh and places having 10pm curfews etc but had The Antlers played Cab Vol and I lived in Glasgow, at least I know I’d have seen their whole set and caught my train home comfortably.  It’s just common sense to have shows that cater for all people, even those travelling to the shows from distance.

Anyways, what I saw of the Antlers was sublime and confirms that they are one of the most exciting and creative acts around right now.  Why they are only playing a venue the size of Tuts I will never know.

16 March 2011, AM

For AM.

I don’t know how to be truly sad
Or how to be really happy.
No, I don’t know how to be.
Might sincere souls be
Like me, without knowing it?

Before the lie of emotion
And the fiction of the soul,
I cherish the calm it gives me
To see flowers without reason
Flower without a heart.

But finally there is no difference.
As flowers flower without wanting to,
Without wanting to, people think.
What in flowers is florescence
In us is consciousness.

Later, for us as for them,
When Destiny decides it is time,
The feet of the gods will come
And trample all of us under.

Fine, but until they come
Let us still flower or think.