Before her appearance on the Stare EP, German experimental cellist Anne Müller had already collaborated with Nils Frahm on this 2009 joint venture. First given a private release in a specially-packaged limited run, 7Fingers was reissued by Erased Tapes and US label Hush the following year.
Müller's overdubbed cello lines get a chance to shine on their own first, before the title track sets out the MO for the album: Frahm in heavily electronic mode, with the cello lines either chopped & spliced or multi-tracked and effects laden. The Reich/Glass-esque Let My Key Be C is an early highlight that dances around your ears before the core of album heads into glitchier territory once more.
Reminds To Teeth with its mix of piano, cello and ambient sounds is a mellower favourite for me, and the album ends with a vocal track sung by Berlin artist Andreas Bonkowski. This closer, Long Enough, does sound a bit like an end credits song for some European indie thriller, but none the worse for it. It's actually a perfect ending for a really nice album of interesting twists and turns.
link
pw: sgtg
Showing posts with label Anne Müller. Show all posts
Showing posts with label Anne Müller. Show all posts
Friday, 22 February 2019
Monday, 29 October 2018
Nils Frahm & Ólafur Arnalds - Collaborative Works (2015 compi, rec. 2011-15)
Back to Erased Tapes, with a compilation that does exactly what it says on the tin: brings together an hour's worth of EP tracks recorded by labelmates & close friends Nils Frahm & Ólafur Arnalds. Then tops it off with a bonus 40 minutes drawn from an evening's improvisations whilst planning the reissue of the EPs.
The EP tracks find both artists in a much more pure electronic mode that they normally operate in, most notably on the superb 25 minutes of Loon, recorded 2014 and originally released as a 12" the following year. They skirt the edges of Cluster-esque minimalism before taking a full-on dive into it with the standout tracks W and M. This is followed by the three untitled tracks of 2012's more atmospheric Stare EP. German cellist Anne Müller (who had previously collaborated with Frahm on 2009's 7Fingers album) proves an inspired and understated third partner on the longest track. Lastly, the 2015 7" (recorded in 2012) Life Story/Love & Glory returns to the more familiar piano-and-ambience of Felt.
As noted above, when meeting up to arrange the EP compilation, Frahm and Arnalds decided to record a new exclusive track for it. This turned in to an entire evening of spontaneous loveliness, and was titled Trance Frendz, receiving its own vinyl release in 2016. The first three tracks are again in Felt mode, based around gentle piano and electronics, and washes of harmonium in 23:17 (each track is named after the time recording started). Then there's a change of scenery with 23:52's swelling synth and harmonium atmosphere, and the pure electronics of 00:26. Entering the small hours, everything mellows out once more with tinkling piano and music box ambience. Essential, gorgeous music from start to finish.
Disc 1 link
Disc 2 link
The EP tracks find both artists in a much more pure electronic mode that they normally operate in, most notably on the superb 25 minutes of Loon, recorded 2014 and originally released as a 12" the following year. They skirt the edges of Cluster-esque minimalism before taking a full-on dive into it with the standout tracks W and M. This is followed by the three untitled tracks of 2012's more atmospheric Stare EP. German cellist Anne Müller (who had previously collaborated with Frahm on 2009's 7Fingers album) proves an inspired and understated third partner on the longest track. Lastly, the 2015 7" (recorded in 2012) Life Story/Love & Glory returns to the more familiar piano-and-ambience of Felt.
As noted above, when meeting up to arrange the EP compilation, Frahm and Arnalds decided to record a new exclusive track for it. This turned in to an entire evening of spontaneous loveliness, and was titled Trance Frendz, receiving its own vinyl release in 2016. The first three tracks are again in Felt mode, based around gentle piano and electronics, and washes of harmonium in 23:17 (each track is named after the time recording started). Then there's a change of scenery with 23:52's swelling synth and harmonium atmosphere, and the pure electronics of 00:26. Entering the small hours, everything mellows out once more with tinkling piano and music box ambience. Essential, gorgeous music from start to finish.
Disc 1 link
Disc 2 link
Subscribe to:
Posts (Atom)

