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Il nostro pessimo inglese non poteva che infrangersi contro lo spessore del suo personaggio. Ma noi abbiamo preferito intervistarlo lo stesso, non si sa mai!
A voi la lettura

Hi. Nils Frahm, in Italy, is a project only known to a little selection of
music aficionados. Can you scrap a little biography, just to understand how
the project was born?
First of all I think the whole project “nils frahm” cant be called a project since it is me and I stand for all the music with my real name. I am in love with music since I can think and I always have worked as an active musician.
I played in several bands, school orchestras, collabortated with people like, Peter Broderick,  Dustin O´Halloran, F.S.Blumm, Anne Müller and many others.
I mainly work in my own studio on my music but also help other musicians with their productions. I work as a mastering engineer and mixing engineer numberless projects. So I work on a lot of projects these days, but I don’t like to think of “nils frahm” as a project; I will always work on my music
and in the moment this music is based around my first instrument, the piano.

Your biographies all over the web talk about your first steps in music being made along with the great Nahum Brodski. What does it means, for a musician living and working in a modern context, to carry out a kind of
music that is actually rooted in the classical music, in the past?
I just can consider myself very lucky. It was great luck to study with this ingenious teacher. He was a successful concert pianist in Moscow until he had to leave the country because of political reasons. He ended up in my small hometown near Hamburg and my father heard of him by accident.
I don’t know if he would honor the music I am playing now much, but he would  likely appreciate the passion I put into it. He always tried to explain to me that “ass” (skills and exercises) is nothing without “heart”. He heard that I have some “heart” but maybe I never had enough “ass” to make it in
the classical world. I think I am alright with that though.

Thom Yorke has made big appreciations of your music several times in the past. Have you ever met and known him? What did he say about Nils Frahm’s music?
Well, I have never met him and I also don’t think that he thinks about my music too much. He put one of my tracks on his office charts, which was exciting since I am a big fan of his work.

What does the audience have to expect from The Bells?
A really intimate series of improvised piano recordings. I like to think of the record more as a wonderful sounding scratch book. You listen to song ideas in progress and I think you shouldn’t expect too much from anything, but you ll find some beauty in it once you feel ready to listen to the whole thing in silence and with patience.

How was it to record your new work inside a church? Was it a new experience or had you done it before?

I just was really thrilled about the acoustics in this place. Other than that I never had a strong relation to these buildings. But I listen a lot to arvo parts music and I love the epic reverbs in his productions. I couldn’t think of piano albums being ever recorded in a such an environment, so I found the idea tempting. It turned out to be a a very special recording session. Peter and me spent two nights in this wonderful space. We lit some
candles and just got carried away.

How do you think your career is going to evolve in the future? Have you got some plans, with new records, projects, experimentations, a tour, or something?
I actually will have a pretty busy year. First of all I will finish the recordings for my next full length album in spring before I go to Japan with Peter Broderick to play a tour over there. After that I will spend some time in the US and play more shows there. In autumn my record will come out and I plan to do some more touring in Europe then. But before I will join Peter Broderick´s live band to help him perform his upcoming album release which I produced for him over the last two years. I think by the end of all this it will be christmas again.

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