Listening to it now - nothing like the last few, this is simple piano work, done very nicely. not the last word in anything, but Im likeing it in any case.
Peaceful stuff.
Amazon Vinyl - Not Cheap!!
"
Nils Frahm has unexpectedly confirmed details of a new collection of solo piano music, his first album since 2022âs three-hour Music For Animals. Day will be released by LEITER on March 1st, 2024. Recorded in the summer of 2022 in complete solitude and away from his studio at Berlinâs famed Funkhaus complex. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach thatâs considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to âstart overâ with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Dayâs familiar, personal style. Day, which contains six tracks, three over the six-minute mark, is the first in a pair of albums Frahm has lined up for 2024. In keeping with their nature, however, he wonât be making a song and dance about the release. Instead, heâll resume his ongoing world tour, which has already included fifteen sold-out dates at Berlinâs Funkhaus as well as a show at Athenâs Acropolis. It will continue with shows all over the world, among them several sold-out dates at Londonâs Barbican in July 2024, where he previously curated a weekend of music, film and art, Possibly Colliding, in 2016. The album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. There are muffled pedal creaks on the cyclical, quietly jazzy âYou Name Itâ and, during the palliative ripples of âButter Notesââ arpeggios, the sound of dogs barking in the streets outside. The compassionate, hesitant âTuesdaysâ and emotionally ambiguous âTowards Zeroâ linger with the poignant persistence of Harold Buddâs earliest work, while âHands Onâ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, âChangesâ sees Frahm employing elements of his instrumentâs construction in a âprepared pianoâ fashion. Characterised by its confidential mood, Day confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, heâs still a prolific master of affecting simplicity, tenderness and romance."
