F.S. Blumm


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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.

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