By: Phil Johnston
Nils Frahm | facebook |
Some artists create music that is cinematic in scope and perfect for soundtracking film. Nils Frahm is a great example to the point that it feels surprising Victoria is actually his first fully commissioned film score. Speaking on it Frahm has said he was always waiting for something special to work on. Enter Sebastian Schipper and the critically acclaimed Victoria. Filmed in one-take in Berlin the story follows a girl’s night of partying which leads to her becoming involved in a bank hiest. I’ve not seen Victoria yet but have followed it’s rise and trail of accolades since winning best cinematography and best soundtrack at German film award ceremonies.
Nils Frahm himself has had a busy year, planning the construction of the worlds largest performance piano, launching Piano Day and releasing the album Solo as a free download to celebrate.
His score for Victoria follows the film’s unconventional approach, beginning with a commissioned track by German techno producer DJ Koze. It makes sense however in relation to the film’s narrative and helps portray how events therein unfold. From there Frahm uses a degree of restraint throughout, concentrating on building tension and setting the tone rather than going for the obvious dramatic builds.
Working with a cellist and ambient guitarist the music feels intimate and strangely familiar. Not familiar as in sounds like some other piece of music but more in the terms of the “hauntological effect” theory. Like certain smells can trigger childhood memories Frahm has managed to create an album that after spending some time with almost feels like a soundtrack to some special event or period of your life. Once I see the film this may change but I think its credit to the compositional skills of Frahm that this score can work so well even if you never see the film.
I’m sure this won’t be the last score Frahm is involved in but it is certainly a great beginning and definitely special.
