Konsertrecension: It is at the piano, Nils Frahm belong

Already when we come in is the machinery which, constructed as a world to disappear into, with lots of different keyboards and other devices. Not so much a full home studio as a futuristic car made of something halvgalet genius.

It reminds not at all about the modern elektroniksnillen that makes plays with his entire arsenal on a small podium, if not in a single box. Rather it is about how the 70's klaviaturfantomer built themselves in giant castles of synthesizers, organs, pianos, and so on.

Jean Michel Jarre for eleven years, then played his genombrottsalbum ”Oxygene” on the same stage with all the original equipment in place – where it took four musicians to recreate the music that was a solopussel from the beginning.

But the German klaviaturfenomenet Nils Frahm is alone in his wonderful world. He will check that on the bounce, a tomboyish figure with a ye olde baker boy, which seems to put a point of honor to really show how he uses his entire arsenal of flashing, paired gadgets. By than here, than there, stretch out and fiddle with, pull, control, raise, lower, put in the time processes.

Much plays itself, then he'll go to any keyboard and play a little. Than pulling a beat to techno or drum 'n' bass, than improvise, he flyhänt but melancholy in the footsteps of Keith Jarrett, or – actually – Jan Johansson.

It is a complex tapestry and it is in constant motion. Barely a song ends in the vicinity of where it started, sometimes a single song feel like a whole small tour between his different stations. Several times I find myself wishing that he dared to hold on to a line a little longer.

at the piano and fingers forward three short songs in rapid succession and a completely different concentration is present. A peace of mind and a mastery that makes all the shimmering electronic worlds that seem redundant; saying that it is at the piano he belongs.

Even if a whole concert of more than two hours with just this expression most likely had been a difficult trial. All that is needed as a contrast, if nothing else.

However, I surprise how rarely I am able to put together this obvious genommusikaliska figure with his identity as a classical composer; not even when he plays solo piano is the hand in the foreground. And the konsertformen is barely even comparable.

Read more music reviews of Nils Hansson, for example, about how the Old Sea Brigade based stage show with the smallest means.