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by Richard Glass

crystalline, repetitive piano, xylophone and glockenspiel themes recalls Steve Reich. It is, however, Less which announces the sonic mastery of Frahm. A reversed piano note segues Frahm is part of the into yearning, burgeoning neosustained chords. classical movement, The dance of the along with Max pianos hammers Richter and Johann against the strings Johannsson, provides a rhythmic combining classical counterpoint. It The title has a dual music with modern meaning, both electronic inuences. combines the stately Romanticism of metaphorical and Felt is his third Chopin with Keith literal, referring to release on the the tangible emotion German label Erased Jarretts deft lyricism. running through the Tapes, which has compositions, but also released music This is a brave album. Frahm captures also alluding to the by like-minded elements that most special way it was artists, such as musicians would try recorded. Frahm lafur Arnalds and to erase from their placed a thick layer Peter Broderick. records. The listener of felt in front of hears the hiss from his piano strings The opening track the tape recorder, to avoid disturbing Keep with its Most songs on the radio assault your ears and are instantly gratifying but eternally unsatisfying. This modern phenomenon has been dubbed the loudness war. By contrast, Nils Frahms new cd Felt could be seen as an advertisement for the beauty of dynamics. his neighbours at night. Recording to tape, he placed microphones deep in the heart of the piano and played with gentle ngers.

pedals being pressed, hammers striking, ngers touching ivory keys, breath being inhaled and exhaled, and wood creaking. It is rare to nd music where the ambient sounds play as much of a role as the compositions. It leads to a transcendent aural experience, especially with headphones. Listen with eyes closed on hushed winter nights.

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