Considering how long the piano has existed as an instrument, it’s incredible to see that there are still modern visionaries pushing the instrument even further. From Hauschka’s physical manipulations of pianos, to Cecil Taylor’s awe-inspiring percussive piano improvisation, to this guy’s “kung-fu” technique of playing a constant stream of notes, it’s seems as if there may not be an end to piano innovation. Berlin’s Nils Frahm, one of today’s most virtuosic players has already taken multiple innovative leaps, (I mean just check out the guy play “Toilet Brushes” live) and has now decided that the instrument officially deserves a holiday of it’s own. To honor the traditional 88 notes on the piano, the 88th day of every year (usually March 29th) will be celebrated as Piano Day. To coincide with this newly appointed holiday, Frahm also released a free surprise LP titled Solo. Acting as more a meditative collection of subdued striding piano than a display of virtuosic skill, Solo is the first record ever recorded on a Klavins 370, a specially crafted piano by David Klavins that measures at 3.7 meters to allow for the thunderous resonance of the pianos lowest notes.
Much of Frahm’s past work has explored the gradual melodic blossoms that Solo’s compositions display, but never has his work had such complex dynamic range. The sheer power of the Klavins 370 is all over Solo: the slow stream of songs like “Some” are given intense power as roaring low notes ring out, one that draws you in completely despite the ambient nature of the songs. Much like the compositions on Brian Eno’s Ambient 1 Music for Airports, though the music isn’t completely attention demanding, it’s hard to ignore the profound beauty and depth of these pieces. Given the near-impossible task of moving these 800kg instruments, Frahm played the same stationary Klavins for the entirety of Solo. While he wasn’t given nearly the production or recording complications that Aine O’Dwyer’s had with Music For Church Organs, the feeling is similar – it’s as if you’re in the room with Frahm, being completely enveloped in the sprawling dynamics of this piano. Even when Frahm speeds his playing up like the quickly ascending swirls in “Four Hands”, the Klavins’ thunderous low strikes storm through with a monolithic presence. The simplicity of songs like “Chant” would still be undoubtedly enjoyable on a classic piano, but the serendipitous split between silence and sound wouldn’t be nearly as compelling.
Knowing Nils Frahm’s long history of playing, it’s entirely likely that the material on Solo is a series of improvisations. We know it’s true of the first streaming single “Wall”, so it’s very likely that all of Solo played out this way. “Immerse!” is an open-ended piece, splaying an ever-meandering melody that sounds like Frahm’s first exploration the Klavins’ compelling range. Regardless of how the pieces came to be, Frahm’s musicianship is ever-present as Solo plays out, proving that the term “composer” is a more accurate descript of his writing style and incredible output. Many moments of Solo sound as if they would work perfectly in film, with the Klavin’s impressive aural range adding a strong emotional element to many of these moments. While Solo does display the subdued side of Frahm’s playing, it isn’t consistently low-energy. The tangible brightness to compositions like “Merry” are mirrored with the strong dynamic drives of moments like “Wall,” making for more of a coaster ride than a float down the lazy river. Frahm has always had an impressive amount of range to his music, and the Klavins 370 only serves to magnify this.
While Frahm has maintained the piano as his main instrument, recent years have seen him utilize more and more equipment on stage, (to astounding results, mind you) so it’s good to hear an album performed on only one instrument. Because of this, Solo isn’t nearly as experimental as Frahm’s previous effort Spaces, but remains just as engaging. Like his 2012 release Screws, it shows the more meditative side to Frahm’s music, inhibiting listeners to move with the music rather than be moved by it. Sure, Solo may appeal more to fans of Greg Haines than those of Hauschka, but this LP is undoubtedly Nils Frahm, one of many composers keeping the piano alive and breathing. It’s hard to imagine a better person to introduce such a holiday too, though it is somewhat surprising that it hasn’t existed previously. “I wanted it to be a nice surprise for everyone” said Frahm upon the announcement and release of Solo; It most certainly is, Nils.
Rating: 4/5
Nils Frahm has also gathered a long list of submitted piano pieces to help celebrate Piano Day, which you can listen to here.
*** Nils Frahm and David Klavins aren’t done yet – all proceeds from Solo will go toward the construction of the very first Klavins 450 (4.5m tall as opposed to the 3.7m previously).