Collecting 12 years of solo piano recordings, the Berlin composer explores some of his quietest, most intimate material yet, in which the creaking of the pedal is often as audible as the notes.

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.
Since the day Nils first encountered the impressive studio of a family friend, he had envisioned to create one of his own at such a large scale. Fast forward to the present day and Nils is now the proud host of Saal 3, part of the historical 1950s East German Funkhaus building beside the River Spree. It is here where he has spent most of his time deconstructing and reconstructing the entire space from the cabling and electricity to the woodwork, before moving on to the finer elements; building a pipe organ and creating a mixing desk all from scratch with the help of his friends. This is somewhere music can be nurtured and not neglected, and where he can somewhat fulfil his pursuit of presenting music to the world as close to his imagination as possible.
His previous albums have often been accompanied with a story, such as Felt (2011) where he placed felt upon the hammers of the piano out of courtesy to his neighbours when recording late at night in his old bedroom studio, and the following album Screws (2012) when injuring his thumb forced him to play with only nine fingers. His new album is born out of the freedom that his new environment provided, allowing Nils to explore without any restrictions and to keep it All about the Melody.
Despite being confined within the majestic four walls of the Funkhaus, buried deep in its reverb chambers, or in an old dry well in Mallorca, All Melody is, in fact, proof that music is limitless, timeless, and reflects that of Nils’ own capabilities. From a boy’s dream to resetting the parameters of music itself.
Words from Nils, October 2017:
“In the process of completion, any album not only reveals what it has become but, maybe more importantly, what it hasn't become. All Melody was imagined to be so many things over time and it has been a whole lot, but never exactly what I planned it to be. I wanted to hear beautiful drums, drums I've never seen or heard before, accompanied by human voices, girls, and boys. They would sing a song from this very world and it would sound like it was from a different space. I heard a synthesiser which sounds like a harmonium playing the All Melody, melting together with a line of a harmonium sounding like a synthesiser. My pipe organ would turn into a drum machine, while my drum machine would sound like an orchestra of breathy flutes. I would turn my piano into my very voice, and any voice into a ringing string. The music I hear inside me will never end up on a record, as it seems I can only play it for myself. This record includes what I think sticks out and describes my recent musical discoveries in the best possible way I could imagine.”
The cover art was taken by photographer Lia Darjes in Nils’ new studio and designed by Torsten Posselt at FELD. A series of these in-studio photos will be included in a booklet with a copy of All Melody.

Nils Frahm’s Night is a contemplative collection of five solo piano pieces, following Day and continuing his exploration of quiet, meditative composition. Recorded on the towering Klavins M450 piano in his Berlin studio, the album reflects Frahm’s enduring connection to the instrument, balancing restraint with deep emotional resonance.
Night unfolds with the glacial stillness of ‘Wesen’ before moving through the understated melancholy of ‘Monuments Again’ and the weightier, lower-register tones of ‘Kanten’. ‘Listening Over’ drifts with careful patience, while ‘Canton’ closes the record on a quietly hopeful note. Throughout, Frahm demonstrates his ability to shape melody and space into something profoundly moving, evoking the intimacy and simplicity of early works like The Bells, Felt, and Screws.
Though widely recognized for his ambitious multi-instrumental compositions and immersive live performances, Frahm consistently returns to the piano as his creative foundation. Even amid his most expansive arrangements, these solo moments remain central, offering a quiet counterpoint to his more complex productions. Night reaffirms his mastery of minimalism, where every note feels intentional, every silence speaks volumes, and the result is unmistakably his own.

Recorded at the Philharmonie de Paris and one and a half years after releasing his magnum opus "Music For Animals"—described by PopMatters as “a musical waterfall of monumental proportions”—Nils Frahm shares a new live album, due for release by his LEITER label on December 6. In what’s becoming a tradition, it follows 2013’s "Spaces", a Pitchfork Album of the Year taped at shows over the preceding 18 months, and 2020’s "Tripping With Nils Frahm", also released as a film. "Paris", nonetheless, is Frahm’s first live album from a single night, March 21, 2024, and contains ten tracks over a running time of 84 minutes.
Frahm’s performances have always been known for expanding upon his studio recordings, and "Paris" is no exception. Drawing on his substantial catalogue, the German composer and producer reworks tracks from various albums, and also adds the brand new, luxurious and strangely gripping ‘Opera’ to the track list.
If he leaves the stage to the same uproarious jubilation with which he was initially greeted, "Paris" makes it clear why he’s been so in demand. He’s been booked, frequently for multiple nights, at halls around the world, including Sydney’s Opera House, London’s Barbican and LA’s Orpheum Theatre. Indeed, the LA Times wrote, “Watching him at work, and hearing the audience react, is a little like watching an athlete at the top of his game.” Expect nothing less from Nils Frahm on "Paris", a vital document of this ingenious, gifted musician’s endless pursuit of fresh perspectives.
credits
releases December 6, 2024
All tracks written, produced and mixed by Nils Frahm.
Mastered by Zino Mikorey, recorded by Terence Goodchild.
Vinyl cut by Andreas Kauffelt at Schnittstelle.
All tracks published by Manners McDade Music Publishing Ltd.
Cover artwork and design by Studio Torsten Posselt.