very limited lp (500 only) frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like 'the bells', 'felt' and 'screws' will once again revel in day’s familiar, personal style. the album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. there are muffled pedal creaks on the cyclical, quietly jazzy ‘you name it’ and, during the palliative ripples of ‘butter notes’’ arpeggios, the sound of dogs barking in the streets outside. the compassionate, hesitant ‘tuesdays’ and emotionally ambiguous ‘towards zero’ linger with the poignant persistence of harold budd’s earliest work, while ‘hands on’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘changes’ sees frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. characterised by its confidential mood, 'day' confirms that, while frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.
very limited lp (500 only) frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like 'the bells', 'felt' and 'screws' will once again revel in day’s familiar, personal style. the album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. there are muffled pedal creaks on the cyclical, quietly jazzy ‘you name it’ and, during the palliative ripples of ‘butter notes’’ arpeggios, the sound of dogs barking in the streets outside. the compassionate, hesitant ‘tuesdays’ and emotionally ambiguous ‘towards zero’ linger with the poignant persistence of harold budd’s earliest work, while ‘hands on’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘changes’ sees frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. characterised by its confidential mood, 'day' confirms that, while frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.
very limited lp (500 only) frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like 'the bells', 'felt' and 'screws' will once again revel in day’s familiar, personal style. the album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. there are muffled pedal creaks on the cyclical, quietly jazzy ‘you name it’ and, during the palliative ripples of ‘butter notes’’ arpeggios, the sound of dogs barking in the streets outside. the compassionate, hesitant ‘tuesdays’ and emotionally ambiguous ‘towards zero’ linger with the poignant persistence of harold budd’s earliest work, while ‘hands on’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘changes’ sees frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. characterised by its confidential mood, 'day' confirms that, while frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.
