THE BIRD AND THE WHITE NOISE

TRACKLIST 1. Krause Glucke 2. Steinsäule 3. In Zügen 4. Anders Malmö 5. Eskimono 6. Land Ab Neu 7. Kieler Aufgang 8. Federn Kegeln 9. Kopffüßler 10. Stockwüste 11. Kammerwüste 12. Komposten 13. Feinling 14. Zeitgeschwindigkeit 15. Schleifling 16. Chitin 17. Leben Läuft (Cello Version) INFO Originally, all they wanted was record one mutual track for the Japan tour in spring 2014. On this tour, Andi Otto (still called "Springintgut" back then) and F.S.BLUMM would present their recent solo records in nine cities in Japan, and one duo track couldn't hurt for an encore. These duo compositions came off surprisingly easy, and in a breath there were seventeen tracks instead of one. Keeping in mind that both solo albums have been six years in the making, the recording of šThe Bird And White Noiseš within two months is extraordinary. It's a proof of the compatibility of Andi Otto's cello and F.S.BLUMM's acoustic guitar, both played through their individual electronic systems. They create dense structures filled with their particular sounds of acoustic instrument processing. The melodic sessions are woven with numerous field recordings from the artists' concert tours to India, Japan, and Italy. The record's fundament are slow, powerful beats which hold everything together. Andi Otto was responsible for the studio production at most times while F.S.BLUMM, experienced for years in making radio plays, handled the mixing and collaging of the parts. šThe Bird And White Noiseš invites to join the travels, and in its long arches and bridges it can easily be listened to as a whole. While the opener or šEskimonoš feature the rather lyrical side of the duo, tracks like šLand Ab Neuš or šChitinš set more punchy priorities to a heavy bass and 808 drums. šChitinš is a late climax of the album, building up for minutes to a massive groove in an insect-like, abstract sound world, leaving just enough space for romantic cello lines to break through in the middle. With Up Up And Astray F.S.BLUMM proves that he doesn't opt for routine with his eighth full-length solo release: his unfailing arsenal of acoustic instruments and connaisseur circuits frame the most energetic BLUMM sound we have seen so far. The album title perfectly describes its energy. F.S.BLUMM returns from a six years hiatus as solo artist in which he has šrehearsed and learned, multiplied and lost track on purpose›. F.S.BLUMM is many now, and he is absolutely present to us. It all goes on, and always up, and from there into unknown dimensions. He goes astray in the word's finest meaning. And he goes up up, not as a sweaty HarderBetterFasterStronger, but with BLUMM's steady, heart-felt pling of the acoustic guitar. With his tin cookie box, through which he plays back his sounds in order to re-record them, with his double bass, his keys and kalimba.