Sunup Moonrise by F.S.BLUMM

The point of departure is an acoustic-chamber-trio consisting of F.S.Blumm on double-bass, classical-guitar and melodica. Every now and then the melody is taken over by friendly guests dropping by on soprano-saxophone, clarinet, french-horn or vocals.
Rhythm patterns are laid down by field-recordings of peeling dry chickpeas or dancing with cellist Andi Otto on a graveled beach at the Amalfi coast.
Other spices that bring delicate amazement are the sounds of rattling dishwashers, bottles being hand-washed for the homemade tomato sauce, shaking spray cans, or knife-sharpening on a turning grindstone.
These noises were laid down because Blumm's recordings became more and more precise and clean. The music longed for some good-old hiss and rustling.
It is somewhat absurd to first eliminate the squeaking sound of fingers that are sliding back and forth on classical-guitar fretboard and then adding the clang of a rusty music-box, but, well, that’s Blumm’s idea of soul in music.
Perhaps the longing for natural noises also deals with the fact that the former radio-play professional F.S.Blumm was looking for a new playground alongside with his longtime colleague Josef Maria Schäfers.

F.S.Blumm finds atmospheres and spaces, tells stories without words, creates musical textures on a journey between Germany and Italy.
He doesn’t stop his analogue experimentations: If you slow down a recording, you enlarge the space. If you double a double bass with a glockenspiel you create a huge field in between. Blumm offers these fields to the listener.

On the cover artwork of “Sunup Moonrise” you get the idea that F.S.Blumm did put the red nose on the tower shown from his last record "Torre". It is in fact a buoy in a chimney and indeed, this album is lighter than its precursor on LEITER.

Yes it is light, but it’s not too light.

F.S.Blumm went to the library and borrowed some “guitar-sheet-music” to practice bossanova-guitar, because he is not too proud to keep on learning.
We hear some uneven rhythms, some beautiful chorals by Lydia Schmidt and breath-taking wind-instruments by Romy Pope, Michael Thieke, Roderick Bell and Pablo Volt (sta).
This music is open minded and it opens ears. This music is friendly and it offers peace.

„The man makes some damn charming music.“
(pitchfork)