Nils Frahm’s All Melody stimulates a sensory orgasm replicating a single gratified nerve ending. The German composer introduces the album with “The Whole Universe Wants to Be Touched”, a piece incorporating romantic howls from a chorus of ghosts as they guide us into the reverb chamber. This ensemble of temple spirits scatter about the track listings. They haunt the damp and textured tones as if to check up on their guest, who like the universe, cannot be touched.
In “Sunson”, Frahm designs a nine-minute portal where wet drips of sound drop down from an atmosphere of light airy puffs. The reverie seeps into the sultry piano of “My Friend the Forest”. Here, keys tumble about parallel to that of an ebb as it recedes into a personal ocean. Frahm has mastered the use of still pauses between notes as every winded refrain hangs about, teasing our ears with whispered supple sweetness.
Once we have reached the surreal terrain of the title track “All Melody”, the album has built upon meticulous layers that fabricated an ineffable panoramic vista which slothfully prepares us for the pulsating synthesizer of “#2” as it produces oblong sounds remnant of rubber dribbling against a padded ground constructing a delightfully sensational climax .
This transient echo is Synesthesia.
This is All Melody