SURPRISE!! You can find a brand new 7" single by Ólafur Arnalds & Nils Frahm titled 'Life Story Love And Glory' featuring two piano duets in all good record stores tomorrow and for an exclusive period of 2 weeks!
If you follow our dear composers Nils Frahm and Ólafur Arnalds you might notice something's going on... First they join each others live sets at Haldern Pop Festival as captured by German TV station WDR Rockpalast, then update their profile pictures simultaneously...
We're very proud to announce that our dearest Nils Frahm will curate the next Late Night Tales compilation out September 11 featuring a rework of John Cage's famous "4'33" of silence, Boards Of Canada, Bibio, Colin Stetson, Nina Simone, Miles Davis, Four Tet and spoken words by our friend and supporter Cilian Murphy!
Berlin-based Japanese vibraphone player Masayoshi Fujita, also known under his alias el fog, came to the attention of label founder Robert Raths a few years ago. Not only because the vibraphone is an intriguing instrument, but also the way Masayoshi treats his instrument and draws ethereal and layered sounds, is what truly attracted him to Masayoshi’s work.
Following an already busy start of the year for Berlin-based pianist and composer Nils Frahm with the announcement of an annual Piano Day and the release of the free album Solo, Nils now takes the focus back to his live performance. Continuing in the tradition of his acclaimed 2013 album Spaces, which featured a grand piano, upright piano, synthesisers, electric piano and tape delays, he will now add drum machines, a Mellotron (tape replay keyboard containing pre-recorded self-made sounds), his very own upright called Una Corda and a custom made, electronically-controlled wind organ to his new live set.
With Dysnomia, the Brooklyn-based group Dawn of Midi made up of double bass player Aakaash Israni, pianist Amino Belyamani and drummer Qasim Naqvi abandon improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, but when stepping back an undulating image reveals itself. “We didn’t want to create anything cerebral,” says Belyamani, “we wanted something visceral, something that would awaken our instinctive dance impulses.”