A1 The Whole Universe Wants To Be Touched  
A2 Sunson  
A3 A Place  
B1 My Friend The Forest  
B2 Human Range  
B3 Forever Changeless  
C1 All Melody  
C2 #2  
D1 Momentum  
D2 Fundamental Values  
D3 Kaleidoscope  
D4 Harm Hymn  

Companies, etc.

  • Phonographic Copyright (p) – Erased Tapes Records Ltd.
  • Copyright (c) – Erased Tapes Records Ltd.
  • Mastered At – Alchemy Mastering
  • Produced At – Saal 3, Funkhaus Berlin
  • Published By – Manners McDade Music Publishing
  • Designed At – Feld (2)


  • Alto Vocals [Shards] – Kate Huggett, Rose Martin (4), Sarah Latto
  • Bass Vocals [Shards] – Augustus Perkins Ray, Dan D'Souza, John Laichena
  • Cello – Anne Müller (tracks: A3, B1, B2, D2)
  • Choir – Shards (5) (tracks: A1, A3, B2, D3)
  • Conductor, Arranged By [Co-Arranged], Tenor Vocals [Shards] – Kieran Brunt
  • Design – Torsten Posselt
  • Drums, Percussion – Tatu Rönkkö (tracks: A2, B2)
  • Engineer [Assisting Engineers] – Antonio Pulli, Matthias H. Franz Hahn, Terence Goodchild
  • Guitar [Processed Guitar], Technician [Unheard Sounds] – Erik Skodvin
  • Instruments [Other Instruments], Written-By, Producer, Piano [Pianos], Harmonium, Celesta [Celeste], Percussion, Mellotron, Organ [Pipe Organ], Synthesizer [Juno, SH2, Taurus, PS3100, 4Voice, Modular], Drum Machine, Effects, Recorded By, Mixed By – Nils Frahm
  • Lacquer Cut By – Barry "Bazza" Grint*
  • Marimba [Bass Marimba] – Sven Kacirek (tracks: A2, B1, B2, B3, C1, C2, D2)
  • Mastered By – Zino Mikorey
  • Percussion – Tatu Rönkkö (tracks: A3)
  • Photography By – Lia Darjes
  • Soprano Vocals [Shards] – Bethany Horak-Hallett, Héloïse Werner, Lucy Cronin
  • Technician [Piano Technician] – Carsten Schulz (2)
  • Tenor Vocals [Shards] – Oliver Martin-Smith, Sam Oladeinde
  • Timpani, Gong [Gongs], Bass Drum, Percussion [Melodic Percussion] – Sytze Pruiksma (tracks: B2, D1)
  • Trumpet – Richard Koch (tracks: B2, D2)
  • Viola – Viktor Orri Árnason (tracks: A2, A3, B2)


Written and produced by during 2016 and 2017 at Saal 3, Funkhaus Berlin.

Includes a 10-page booklet and a digital download code on the inner sleeve.

℗+© 2018 Erased Tapes Records Ltd. All rights reserved. All tapes erased. Made in the EU

Barcode and Other Identifiers

  • Barcode (On sticker on shrinkwrap): 4050486114407
  • Matrix / Runout (Side A): BAZZA ALCHEMY ERATP106LP-A1' ALL MELODY
  • Matrix / Runout (Side B): TE ERATP106LP-B2 ALL MELODY
  • Matrix / Runout (Side C): X2 ERATP106LP-C2 ALL MELODY
  • Matrix / Runout (Side D): BAZZA ALCHEMY ERATP106LP-D1 ALL MELODY
  • Label Code: LC 15952

Nils Frahm - All Melody

  • The following review was written by Drastic Steps. You can read more of his reviews and stream his DJ mixes HERE:


    Nils Frahm’s relation to pianos and organs is succinctly captured in a line that appears in the album/booklet insert of the 2lp release of All Melody. Writing about the 50 Euro “pianette” which, after Carsten Schulz’s wizardry, masquerades as a piano-ish animal throughout All Melody, he says “the piano becomes the composer, the composer becomes the listener.” In the liner notes Mr. Frahm makes clear, “I wanted to hear beautiful drums, drums that I have never seen or heard before,” He also delves, like Nicholas Jaar, in the electron universe of transforming sounds; giving instruments unconventional voices. “Pipe organ will turn into a drum machine, while my drum machine would sound like an orchestra of breathy flutes, he confesses. He strives to make “acoustic instruments sounds like a synthesizer, and the synthesizer to sound like a human voice.” Listen to Track D3 (Kaleidoscope) and you will hear how the all this technical tinkering of tonality melds with a measured spontaneity of improvisation where the instruments compose the musician, as much the other way around. Those low, low vibrating bass with a concerted mellifluousness of keys, jostles and placates the frenetic repetition and restlessness of a runaway organ loop. The title track takes the musical intrigue to a new level of rhythm, melody, and well, phantasmagoric revelations. The reedy and rotund voice generated by those organs develops along with Sven Kacirek’s bass marimba, into a valley of impeccably resonating- yet-fleeting tunes. By pulling in different directions the track unfurls my senses to the unity of a forest among all its vast complexity. A reverberating grandeur where the universe wants to be touched. The thrums, sweeps, trills, morphing drones, gallops, hums, and sonorous textures, gives away to a decay, as if I want to enter the world of Multicast Dynamics or Pan & Me. I have listened to this album every way I can, and every time it has cajoled me to think about music where spontaneity is a critique of composition, where nothing seems as they are, where one plays out instruments to see how things play out. Get yourself a window through which light enters, shy as snow. I can see myself walking through a rain washed Kolkata, green as it could be, or perhaps overhearing the All Melody during torrential monsoon rains, and feeling “forever changeless.” If you have not already, this album must adorn your collection, even before you get to Nils Frahm’s other albums.