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Miscellaneous - Released April 1, 2016 | Sonic Pieces


Experimental - Released June 18, 2010 | Sonic Pieces


Miscellaneous - Released March 1, 2013 | Sonic Pieces


Electronic - Released April 11, 2005 | Morr Music

For his follow-up to Ankern, F.S. Blumm modifies his sound ever so slightly, but those small nuances definitely make all the difference. His guitar playing has never sounded better and the instrumentation he surrounds himself with complements his sense of arrangement and songwriting. The instrument list reads like the roll call of a Pet Sounds session -- xylophone, bells, French horn, vibraphone, melodica, glockenspiel, harmonium, accordion, bontempi, Casio keyboards -- all used with a reverential sense of restraint and with a great deal of subtlety that wouldn't be out of a place on a Brian Wilson or Burt Bacharach production. The songs are an equal balance of bliss rock and IDM, with a nice nudge in the direction of simple pop melodies that are graceful in their melancholy. Like many of his labelmates (Ulrich Schnauss, isan, etc.), Blumm pays homage to the influences of the past without getting caught up in a gloss of nostalgia. ~ Rob Theakston

Pop/Rock - Released November 10, 2017 | Karaoke Kalk


Electronic - Released January 15, 2007 | Staubgold

The first half of Ankern just doesn't make sense coming from a guy who guests on Mouse on Mars records and is one-half of the experimental Sack & Blumm. The light melody and Pat Metheny-esque rhythm of "Folge" would be more enjoyable if Blumm would lift his fingers off the guitar's frets far enough to avoid the disruptive shrieking noise it generates. The next four tracks continue in the Tortoise meets smooth jazz vein before some much needed relief and depth finally arise out of the atmospheric dissonance in "Sprung," while the rolling bass of "Abgebildet" might help to remind listeners that the album is still playing. A couple more electronic touches break up the monotony on the second half, but Blumm's use of them seems more clever than genuinely inspired. Like the most noodling moments of Rachel's, Ankern ends up being a delicate album that's inoffensive when it's on, and wholly forgettable when it's off. ~ David Jeffries

Rock - Released October 1, 2011 | Ahornfelder


Electronic - Released October 5, 2007 | Ahornfelder


Electronic - Released August 13, 2001 | Morr Music


Electronic - Released January 16, 2008 | Alien Transistor


Folk - Released September 15, 2006 | Morr Music

Although F.S. Blumm is signed to Morr Music, the German label associated with acts like Ms. John Soda, the Notwist, and Lali Puna, he is not an electronica artist, and Summer Kling is not an electronica album. Yes, there are sometimes soft, nearly inaudible electric bleeps in the background, gently percussive, but most of the record is played on organic instruments. It's Blumm's acoustic guitar that takes center stage, moving from the jazzy, almost Brazilian sounds of "Koffer Dill" and "Land Ab" to the sad and pretty longing in "Halbton" and "Wurf." In fact, every song on the album has that kind of poignant melancholy that never quite falls into depression but is never exactly happy, either. Because there are a fair amount of instrumental arrangement (horns, various keys, and woodwinds, all carefully diagrammed in the liner notes), the music on Summer Kling sounds a bit like both Sufjan Stevens and Badly Drawn Boy -- minus the vocals -- but less orchestral and less ornate. Not that Blumm's music is simple, but there's a level of sophistication that comes in its lack of heavily piled layers and dramatic entries and exits. Horns play chords and riff along with the guitar, but nothing is overdone. Everything is very purposefully placed and organized within the songs, with lots of repeating phrases, almost as if it were composed by an electronica artist who's carefully placing the musical elements atop and among one another, but because of the live instruments there's still a real sense of the organic preserved. The pieces on Summer Kling are all rather similar, falling into either the "quick and sad" or "slow and sad" categories (a distinction that becomes even more blurred as the album progresses), but they work well together, creating a poppy, lilting whole that manages to laugh and weep at the same time. It's the perfect soundtrack to any independent film, introspective and sad yet vaguely optimistic, which makes it a pretty good accompaniment to anyone else who's feeling the same way. ~ Marisa Brown