What’s your first ever memory associated with music ?
Nils Frahm : The sound of my mother’s piano. I used to play it a lot. I must have been awful, so my parents decided to give me some lessons, to increase my skills and protect their nerves.

What was your first contact with music ?
I think my father’s record collection. There was always music in the house, mostly free jazz and ECM music. Also lots of classical music. I am really thankful for all of that input. The record player was running all day and I think my father has a brilliant taste in music.

What’s your musical training ?
I had piano lessons for 6 years beginnning when I was 8 years old. My teacher was a grumpy old guy called Nahum Brodski. He was really supportive and he made me practise a lot. He wanted me to be a classical player, but I got tired of this kind of music. So I started playing in bands when I was 13. I had no idea about music theory, so I changed my teacher and took some jazz piano lessons for a couple of years. I wanted to know everything about improvising and it is still the most amazing way of working with my instrument. I never studied music, but I tried to learn as much as I could about composing and theory.

Composers/musicians you love, whether dead or alive ?
Undeniable influences are : Arvo Pärt, Chopin, Satie, Valentin Silvestrov, Steve Reich, Keith Jarrett, Moondog, John Surman, David Darling, Bill Evans, Philipp Glass. But also more contemporary artists like : Peter Broderick, Greg Haines, Dustin O Halloran, Machinefabriek, Heather Woods Broderick, John Convertino, F.S. Blumm.

What’s your main inspiration when you’re about to write music ? Let’s take Wintermusik as an example : Does it appeal more to your musical background, your knowledge of harmony to write music, or is it something more innate/spontaneous ?
I don’t think I am a composer in the classical sense. Sometimes I find a nice sounding/inspiring chord progression. But most of the time I don’t really know how I want to finish it straight away, so it stays in constant progress. I like these unfinished pieces the most, because each time I play them they sound different. That makes it pretty hard to record them, because then those pieces are set in stone. I have to get used to that. "Ambre" on ‘Wintermusik’ is the only completely composed piece on the piano. All the other pieces are little themes I use as a basis for improvisation. Of course it needs a certain knowledge of harmonisation, but first of all there is this melody in my head that just wants to come out. So I try to let my fingers play this melody. Sometimes it works, sometimes not. Usually, I don’t think much about the music I am playing. It is more on the spontaneous side I guess.

’The Bells’ sounds quite different from ’Wintermusik’. How did you work on this new album ? According to you what would be the difference with the previous one ? Which one would be the best introduction to your work ?
Working on ‘The Bells’ was indeed really different from working on ‘Wintermusik’. Before we started I talked to Peter Broderick, who produced the album, about a possible approach. And finally we rented this old, wonderful church in Berlin for two days and the only thing I knew was that in these two days I needed to record all the material. One rule of Kning Disk’s Piano Series (the album was first released by Kning Disk in Sweden and is now part of Erased Tapes’ catalogue for the UK, Ireland and North America) is to not add or edit the recorded piano material. So it was kind of thrilling. The atmosphere in this location was incredible. We recorded only at night. The acoustics and the place itself added a pretty serious and sacral atmosphere to the recordings. I left the church with a few hours worth of music and started to select some bits with Peter’s help. The collection of these bits became the album.

You seem to be very close friends with Peter Broderick. Would you say that this particular meeting has been a real change in your life and music ?
Peter became my closest friend over the last year and meeting him has changed my life a lot. Before him I was not connected to a musical scene at all. I played the same music and worked already as a musician, but I never considered playing live shows or solo piano. The piano was a very private thing to me. I was working in a studio, recording and writing music. Playing piano was more of a little side project really. It was amazing to hear from a gifted guy like Peter that I should release my piano work. Until that point I had little confidence in my music. Without Peter my life would be very different and I am so thankful for all his help and support.

I gave a listen to the mix you did for Fluid Radio. Great selection ! What kind of music are you listening to at home ? Regarding your radio mix, I bet this is not all about piano and instrumental music.
Oh, this is a hard question. I’ve listened to techno music a lot for example. You would probably call it IDM or something like that. I don’t know. I love certain jazz music, especially stuff from the East around the 50s and 60s. ECM was definitely a big influence, but also all kinds of pop music. I love good songs ; I wish I could sing because if I could, I would. But I did also spend a lot of time with classical music and rock’n’roll. Sorry, I think I can find good music in any musical field. Even Abba wrote nice songs really.

You travelled a lot these past few months. What are your favorite memories about cities and/or countries during your tour ?
I think in general it is nice to be hosted by so many interesting people all over the world. I stay in contact with a lot of people I met, like the guys from debruit&desilence. France is one of these places where you get really desperate when your French isn’t any good... My time in Paris with these guys from debruit&desilence was amazing. I remember every single bit. It’s a small world really. For example, the sound technician I met again when he was working for Final Fantasy in Gothenburg. When you travel a lot, the world shrinks a bit and seems to become smaller and friendlier.

What is your relationship with your home country and especially Berlin like ?
Berlin loves me, I love Berlin. And by the way : Berlin isn’t Germany really. Most of my friends here are from different countries and when you go to a party you can’t really communicate without speaking English. So many artists come here these days to spend time here - like Peter, Dustin O’Halloran, Greg Haines or Gaylor from debruit&desilence, because it is still cheap to live here and there is so much space. I never get bored here and when I return from a trip - it doesn’t matter where from - I always think that I am situated in the best city around. So I am very happy to be a Berliner. Originally I am from Hamburg though.

Anything about the future ? Projects, plans ?
I will work on a new solo album for Erased Tapes, which will come out in 2010. Besides that I will release a collaboration with F.S. Blumm on Sonic Pieces. I also worked with Peter on his new album. I recorded it for him and that was the most incredible experience. I think I will work in the studio quite a bit this year, but I also have a tour sheduled. I will share a European tour with Balmorhea in April and I will play a few solo shows in the UK in May. I met these people before and I can’t wait to share a bus with them !

Thanks to Erased Tapes & Dale Grundle.
Interview by jerome + ad crew
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February 2010