Optical 2: Erased Tapes Showcase at Decibel Festival

Subtitle: Who the hell is Nils Frahm and why haven’t I heard of him before?

Obviously a press photo and not one of mine

Nils Frahm (obviously a press photo and not one of mine)

Seattle’s Decibel Festival turns 10 this year, which means it was born just about the same time I quit following electronic music. While I wasn’t paying attention, Decibel grew into a world class celebration of underground and experimental electronic music. The only reason I went this year was to see Ólafur Arnalds.

Performing in a hoody and sneakers, Nils Frahm was on first. Having never heard of hime before, I had no expectations. Frahm played two pianos (one upright), and two keyboards wired into a processor of some kind. He used them all to make sounds persistent and abrasive enough to make noise rockers jealous, often simultaneously playing the most lovely piano melody. You could hear the hammers returning to rest on the upright piano. You could hear the piano stool creaking as he stomped on the wooden floor, keeping time with his foot. All of that was part of the composition.

Nils Frahm (obviously my photo)

Nils Frahm (obviously my photo)

Ólafur came out wordlessly, carrying two glasses of wine. He gave one to Frahm and sat at the grand piano for one song. They toasted in silence and drank in unison. Pauses to tip their glasses fit seamlessly into the music. It was often impossible to tell whether the music came from the piano or the processor because Frahm could make the piano sound so unlike piano. At one point, he beat a bongo rhythm on the strings inside the piano with mallets. The final song began simply. Beautiful and traditional, it imperceptibly built in speed, tension, and dissonance until Frahm’s hands looked like a photograph taken with insufficient shutter speed.

NilsPiano

At 6:30 on Friday night I didn’t know who Nils Frahm was. At 7:30, I knew Nils Frahm was one of the most incredible composers alive, but I was no longer sure that I knew what music really is. Frahm made it so much bigger and more profound than I thought. Not only are the boundaries of genre imagined, but the boundaries of music and noise are arbitrary.

I’ve described Ólafur as experimental in the past because he uses an iPad for live-looping and layering, and because he blends electronic elements with classical composition. But compared to Frahm, these are just new techniques for writing traditional music.

Obviously a press photo of Ólafur Arnalds

Obviously a press photo of Ólafur Arnalds

Ólafur took his time getting started, telling stories, cracking wise, and recording the audience singing a C note on his iPad. He looped the recording to drone during the first song, joined by a violin and cello. Both string players made sounds that I didn’t know their instruments were capable of; sometimes the violin whistled like a flute, or the bow expectedly slipped. But it was never a flub – entire melodies were crafted out the chatter of the bow bouncing along the full length of neck of the instrument. The violin was mic’ed through Ólafur’s laptop, and sometimes would swell to multiple lines as Ólafur programmed string loops on his iPad. Sometimes he played drums on the iPad with his left hand while playing the grand piano with his right. Throughout the show it was often impossible to tell where the music was actually coming from. That uncertainty created an edginess that belied the peaceful sounds and sent my mind spiraling down many an existential path. The visual artists projected smoke patterns on the back wall, and the entire hall was sucked into the exquisite, sad beauty of Ólafur’s music.

Obviously my cell phone picture

Obviously my cell phone picture

There is an Ustad Ali Akbar Khan raga with such a powerful narrative that it forms an entire world in my head every time I hear it. Ólafur’s music is like that, too. Cerebral in concept, the sounds are so emotive that you can close your eyes and live another life in every song.

Arnór Dan came on stage to sing the title track to Ólafur’s new album. Keeping double-time in sharp, jerky movements with his body while slowly pulling our hearts out of ours, Arnór’s soaring notes would be falsetto in anyone else’s throat. He sang “Old Skin.” Then he left the stage.

Arnor Dan

Arnor Dan

It was so refreshing to be in a Seattle venue where everyone listened attentively. Even when the music reached intensities that demanded a cheer, everyone remained silent for fear of missing a single note. There were pauses at the end of each song, as the room savored the moment before erupting into exuberant applause. I imagine this might be what it felt like to attend the old European salons of the past; to spend an entire evening in collegiate company, intensely focused on some of the brightest, most innovative and creative ideas of our century.

Could this have been as good as Nordstrom Recital Hall last night?

Could this have been as good as Nordstrom Recital Hall last night?

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11 thoughts on “Optical 2: Erased Tapes Showcase at Decibel Festival

  1. Beautifully written as usual, and now I’m so fascinated that I need to find some of both artists’ music to explore, though it already seems clear that any mere recording could not match the experience you witnessed.

    • Thank you for the kind words and the Nils Frahm link. KEXP has some live videos of Olafur on their website. Here is his set at Airwaves: http://blog.kexp.org/2012/11/23/live-video-olafur-arnalds-at-kex-hostel/ It’s true that this music, even more than most, benefits from live viewing. Usually when you want to share newly discovered music, you play someone a song and in 30 seconds or so you both have a good idea if they’re going to like it. But so much of the neoclassical experience is temporal – you don’t even begin to know what a song is about for many minutes. Thanks for taking the time to dig in. I probably should have mentioned that Erased Tapes is the name of the label that both artists are on. The label Bedroom Community also offers some really interesting stuff along the same lines.

  2. I really did dig in, as you’ll see on my site tomorrow. 🙂 Also, did you know that Ólafur Arnalds composed and performed the opening and concluding tracks on Heaven Shall Burn’s “Invictus” album? I had forgotten that.

  3. Pingback: NO CLEAN SINGING » “THAT’S MUSIC!” — BUT IT’S NOT METAL: NILS FRAHM AND ÓLAFUR ARNALDS

    • Wow, I didn’t recognize him at first with hair! Beautifully shot video. (It reminded me how sad I am that they are going to mar the Reykjavik skyline with a high rise hotel in the Heart Garden.) I didn’t realized Agent Fresco had been around so long. They were among my Airwaves 12 favorites. It was amazing to hear what different sets they created from the same set of songs – intensely rocking at Harpa, and intensely personal and emotional at Nordic House.

  4. Pingback: Wagner Ladles Crazysauce in The Flying Dutchman | gemma D. alexander

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