Spaces Nils Frahm Rar

Spaces is an ode to the joy of live performance. It expresses Frahm’s love for experimentation and answers the call from his fans for a record that truly reflects what they have witnessed during his concerts.

Breaking the convention of a traditional live album, Spaces was recorded over the course of two years in different locations and on various mediums, including old portable reel-to-reel recorders and cassette tape decks. ‘What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience.

Spaces is the seventh studio album by German musician Nils Frahm. It was released on 19 November 2013 on the Erased Tapes record label. It has been described by Nils as a 'collage of field recordings', and includes music recorded over a 2-year period at different locations using a variety of methods including cassette and reel to reel tapes.

Instantly I became the Doraemon fan, and now I want a sequel. It's harder thinking that I'll be making her unhappy.' 'It's hard saying goodbye. Download stand by me doraemon 1080p sub indo. , yet simple charmingly smart. Especially the end twist makes 'what the heck!'

And since the audience is different every night, the music being played will differ too. Every space I performed in has its own magic and spirit.’ – Nils Frahm.

‘Went Missing’ is the deserved shuffle back into your seat. The love-story, the soundtrack and the peaceful relinquish from ‘Said and Done’ and the mid-ground before the more evocative ‘Familiar’. By now, Nils’ has paced himself well and you’re truly addicted to the developing story-line. And like all good tales, the unexpected keeps you hooked. The ‘Improvisation For Coughs And A Cell Phone’ does just that.

Making sense of the grand-piano and warming the notes for the crescendo in ‘Hammers’. Nils’ head is down and beads of sweat struggle to hang on to a forehead and body pulled apart by hands of their own stretched out across two pianos. Again, Nils has managed to transform into a machine; an emphatic, relentless machine that is somehow producing a dream-state for every single person in the room, ended deservedly by a raucous applause. Return of the synths and the familiar ‘‘; a favourite of mine, I cannot express how good this sounds rattling around a performance space. Easing into ‘Peter’, the toilet brush incident and ‘More’, if you’ve watched any performances of Nils on Youtube or similar then you’ll recognise much of this.

Again, a sight to behold as Nils is split in two, in a world of his own yet reflecting against an audience waiting with baited breath for any give on this relentless piano assault. And then the most beautiful yet; ‘Over There, It’s Raining’. I’m pretty speechless at this point – just an absolutely stunning piece of music that melts every single part of you. Continuing this theme is ‘Unter—Tristana—Ambre’ with it’s reflective soundtrack moments in ‘Tristana’, the more sincere ‘Unter’ and a perfect, complimentary ending in ‘Ambre’. The end of the record, and you’d be expecting either a majestic sign-off or a heart-wrenching melody but instead Nils opts for a contemplative and unique piece in ‘Ross’s Harmonium’. Perhaps to keep the audience guessing, maybe a nod towards more of what’s to come. I feel like Nils has opened up his world only to leave the door slightly ajar, with a glimmer of light creeping through from a low sunset, and the camera backing slowly into the dark.