Nils Frahm - Graz (Album Review)

 

Nils Frahm - Graz

(2021)

My copy: 2021 press by Erased Tapes Records.

Submitted as a thesis by the name Conversations For Piano And Room, Nils Frahm intentionally toys with anticipation and time to create thought-provoking vignettes of frequently haunting melody. Graz does require patience and appreciation for solo piano work, but the production gives a personal sense in which the room itself plays a major role.

“Lighter” is slow and feels fittingly conversational, posing melancholy phrases that hang in the air as if in dismay at a partner’s response to a difficult question. “O I End” becomes more active with swelling two-note ostinatos that rise and fall with hints of urgency - giving an autumnal sense with fluttering cadences like cold leaves falling slowly from their tree. Now even more elaborate is the dignified anxiety of “Because This Must Be,” which owes its regal undertone to its waltz time and foreboding bass droplets. 

Now thawing and opening up slightly is the reflective “Kurzum,” which tip-toes around major chords and later mystery. “And Om” is generally somber though unpredictable thunderstorms overrun the playful writing occasionally. Peter Broderick adds to the rapid pace of “Hammers” which gallops in a mesmeric flurry of syncopating melodies - the only miss coming from the shoehorning of vocals. 

Now finding comfort in its concept, the album begins repeating ideas. “Crossings” is pleasantly shy and inquisitive at least while “About Coming And Leaving” strips down pleasantly following the album’s climax. “Went Missing” is when the self-cannibalization becomes more apparent, but this final piece mixes in tiny dashes of dissonance in an attempt to keep things fresh. 

Frahm is at home in intentionality, with his ramp up in pacing throughout the first half serving as the core highlight of the record. The falling action can be easy to gloss over, but Frahm’s understanding of recording and space are always worth commending.