Where last year’s All Melody, Frahm’s most ambitious album statement to date, attempted to bring together those two opposing poles—fashioning choir, strings, horns, gongs, pipe organ, and his usual welter of acoustic and electronic elements into a whole at once vast and hushed—All Encores takes a step backward, toward a simpler, sparer sound. In essence, it represents a set of rough drafts, avenues abandoned as All Melody assumed its final form. All 12 tracks here were originally released on a trilogy of EPs, remnants of a proposed triple album that never came to completion, exploring distinct corners of Frahm’s musical practice.
For the past two years, Nils Frahm has been building a brand new studio in Berlin to make his 7th studio album titled All Melody, which will be released on January 26th, 2018 via Erased Tapes, before Nils embarks on his first world tour since 2015.
Across 12 songs and 74 minutes, All Melody functions as a single, cohesive piece of music, with recurring themes interwoven throughout. It’s easy to get lost in the album and then, hearing a familiar motif, come up short, as if turning a corner in a long hallway and wondering if you hadn’t passed the same spot just a moment ago. It’s a pleasantly disorienting sensation.
What stands out is the blend of acoustic and synthetic sounds. This in part reminds me of Nicolas Jaar.