In the notes for Nils Frahm’s new album All Melody, the artist describes a dream orchestra of one as a shapeshifting being of many parts: “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.”

It's one way of capturing the spirit of an artist who defies all categorisation, equally comfortable in a recital hall and on a dancefloor, and able to leap fleet-footed across musical conventions.

All Melody is a blissful avalanche of aural innovation. Angelic choruses dance above a pipe organ's sigh, while elsewhere a simple synthesizer riff expands to take on cosmic urgency. Moment to moment it is full of surprises, but repeated textures and motifs gradually form a coherent single work of delivering a supreme satisfaction.

Frahm returns to Melbourne for the first time since sell-out shows at Melbourne Festival in 2014, this time bringing the stunning All Melody. Anyone who has caught Frahm live knows that this will be a wall-shaking, roof-raising affair.