Reunions of past collaborators can often be disappointing, especially when it comes to art projects. Luckily, Nils Frahm did not fall into that trap when he decided to make an album with his two elementary school friends from Hamburg, Germany. Respected composer of neo-classic and electronic music took a break from his solo career to dial nostalgia and ask her If she wants to come visit. Three guys (Nils, Frederic Gmeiner and Sebastian Singwald) aspired to record an album with the same technique they used to recorded their first mutual music. It was a long time ago, when they were all teenagers.
The Gamble does not sound old. The reason for it is in the extraction of the best fragments and rejuvenation of the sound with the injection of experience and kunst. Frahm’s role was undeniably huge when it comes to nonkeen’s sound. On release with nine tracks, three of them stand out. The first one is Saddest Continent On Earth, a number with three simple, repetitive tones and a meditative melody that will serve well in any lounge bar. Actually, 90% of the album is made of subtle sounds of electric pianos and non-intrusive samples. Jazz runs through nonkeen’s debut album just like blood runs through our veins while we listen to it.
The second outstanding piece is track called Ceramic People. It serves as a total diversion, since aggressive rhythm takes the spotlight and brings post-rock to the minimal table. That doesn’t mean this song is destroying the concept of the whole record. On the contrary – it steps it up with dynamic.
The culmination comes with This Beautiful Mess where Frahm’s piano plays leading role and jazz drumming beats faster than the rabbit’s heart. I also liked Chasing God Through Palmyra because it sounds like an elegant version of Chemical Brothers’ Hey Boy Hey Girl.
The Gamble is a refined experiment that allows music to grow. It is an electro meditation you have never experienced before.
