Arguably the best ambient/soft-touch piano miniatures album of the last 5 years and one of the most underrated hidden gems in all of post-classical, composer Nils Frahm’s SCREWS album indelibly has a soft spot in many listeners’ hearts.
The album which was given away FREE is now seeing new life once again not only on Nils’ most recent Spaces tour, but in a new Reworked Competition which will see a select number of winners appear on the next worldwide edition of his SCREWS album on vinyl and CD.
Fans can enter by submitting their reworks in the form of images, videos or audio files via the Screws Reworked site http://reworked.nilsfrahm.com/
Some of the pre-submitted reworks revealed have shown an incredible amount of flexibility Frahm’s minimalist piano set offers.
This work by Sebastian Freij simply adds instrumentation but the added scope provides a bigger, deeper soundscape to Frahm’s “La.”
Another highlighted submission comes from //rvll for Frahms’ “Re” which adds in field recordings with light electronica tones that almost take Frahms’ work into the realms of Steve Reich.
This reworked piece of “Me” by Analogue Dear adds some held guitar tones to create a very Explosions In the Sky feel / indie rock sound.
SCREWS was originally the result of inspiration from fans and friends to Frahm while recovering from a thumb injury.
You simply submit your rework, eather images, videos or remixes and share them with the world. You can also view other artists, friends reworks, make comments and share them too.
Frahm himself is no stranger to doing reworks as he most recently did a rework for composer Olafur Arnalds’ track “For Now I Am Winter” off his most recent album of the same name. The track itself was relatively somber but imaginatively re-envisioned to more a mystical, crystal-depth set.
The deadline for all submissions is September 20th 2014 – Nils’s birthday, which will mark the last date fans can submit reworks to the site.This entry was posted in General and tagged erased tapes, nils frahm, piano, post-classical on .
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