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For his first film score, Nils Frahm held out until the right project came along. After being approached by German director Sebastian Schipper to collaborate on the musical accompaniment for his film, Victoria, Nils recognized how it could be an inspiring experience. Shot in one take, the film tells the story of a girl who meets three charming men after a party and as the night continues finds herself assisting them in a bank robbery. In its ambitious one-shot directive, Schipper captures the energy of their city surroundings and dynamic between the protagonist and her new acquaintances. It is a film about the unexpected, almost surreal, circumstances we find ourselves in which can encourage us to do things we said we never would.

Frahm's music has been committed to the concept of sound design - creating and challenging instruments in how they are typically played. His song 'Toilet Brushes' is made of the sounds by the bathroom utensil being played on the interiors of a piano, while earlier this year he constructed a piano designed to sound somewhere between a piano and a harp. Approaching Victoria, he was interested in what could be created by placing musicians in a recording studio, playing in real-time to the film. To help him to do this, he enlisted the help of long-time collaborator and cellist Anne Müller, violist Viktor Orri Árnason and ambient artist Erik K. Skodvin of Deaf Center. Frahm's recording approach essentially mirrors the film's one-take initiative, in which the quartet played for the whole duration of their first viewing - simultaneously becoming spectators and creators.

Working from its visual cues, the collective instil the tensions and restlessness underpinning the story. Without sheet music or any premeditated idea of what it should sound like, the score moves in its own way as if suspended in time. 'Them' twinkles in a gentle piano melody as strings overturn in unison, while 'The Shooting' peters as it figures itself out along the way. Opening with the looming techno of DJ Koze's 'Burn With Me', the quartet takes listeners on a journey of diverse arrangements that arouse the emotions of its lead character as she progresses through the night.

Nils' music is as much about the process as it is the end result. He is an artist who disregards conventional composition and seeks to create music which is unrestrained and genre-oblivious. His debut score continues the lineage of his aim to discover new spaces music can enter and inhabit. Based solely on intuitive improvisations between musicians, he has produced an engaging interpretation of the ominous air and electricity Schipper creates. Victoria, and its music, seizes the beauty and terror we find within those moments when we throw ourselves into a new, uninhibited context.

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