Bleep

Having set up a new studio in an old East Berlin broadcast facility built in the 1950s, Nils Frahm's seventh album All Melody arrives via Erased Tapes. Drawing new energies from his freshly laid-out studio space, All Melody combines all manner of retro synthesizers and processors plus pipe organs and pianos to craft a delicate vessel, perfect for the studio space transition of escapism from this world, deep into another.

Having kept quiet on the release front for the last two years, Nils Frahm has kept himself busy building the environment to which he fully realised his vision of a music that truly is, All Melody. This relocation into a new studio based within the historic Funkhaus building alongside the River Spree, has seen Nils "deconstructing and reconstructing the entire space, from the cabling and electricity to the woodwork," before building a pipe organ and creating a mixing desk all from scratch with the help of his friends. The feeling of opening on to a new page, fresh with ideas and the newly found possibilities of a habitat to record within and unleash new concepts, a habitat ripe with new equipment, instruments and opportunities. This appears to have given Nils a new outlook, making this his most cohesive record since Spaces.

Said to draw its title from Nils' stunning 2014 RA Session, All Melody's primary sound sources have a well-polished sheen that reflects the newly built space in which they were dreamt in, which is perfectly captured on the record's cover - a glimpse into this new world of sound. Above all else though, what makes All Melody quite possibly Nils' greatest record to date is the sense of freedom that is ripe within the recordings. Nestled deep into his new studio space's natural reverb chamber, the sound of All Melody will resonate long in your mind after the record's end. This melodic ambience is music that goes a long way towards its goal of expanding the parameters of music itself.