Berlin-based musician, producer, and writer F.S.Blumm shares ‘WELLEN FORMEN’, his second solo album on LEITER. A revered mainstay of the German underground for decades, he has released numerous LPs across experimental and electronic labels over the past twenty-five years, yet seems to have now found a true home for his signature sound: sublime instrumental arrangements, long melodic lines, acoustic timbres, and subtly sculpted atmospheres — contemporary chamber music with one foot firmly planted in minimalism. ‘WELLEN FORMEN’ will be available on all digital platforms from May 22, 2026. The first single is out now. The release is accompanied by a limited edition A5 booklet, printed in Risoprint on Munken paper, featuring images from the series of artworks that inspired the album cover — a tactile, handcrafted edition created in collaboration between Blumm and Ansgar Wilken, available to pre-order now.

Music needs room to breathe. ‘WELLEN FORMEN’ is built from many such rooms. The recordings took place in a rehearsal space, a studio, a hotel room, and even a storage closet. There was, however, one rule: ‘Saal 3 of Funkhaus Berlin must appear in every piece.’ This remarkable studio already features in Blumm’s work on ‘Mohnschicht’ from his 2000 EP ‘Bettvanille Weiter’. He also fell in love with its reverberation while recording his fictional radio feature about the enigmatic sound artist Rainer Sandmann. The circle closed once more when Nils Frahm and Blumm recently produced their fifth duo album, ‘Handling’, in the same room. ‘WELLEN FORMEN’ itself opens in Saal 3 with ‘Reinfeld Trainride,‘ where a lithophone — a stone-bar xylophone whose sound lies somewhere between wood and metal — introduces the piece, performed by Manuel Chittka.

Music needs social interaction. On the new album longtime collaborators from Blumm’s last solo album ‘Torre’ are reunited: Anne Müller on cello and Michael Thieke on clarinet meet in the wonderfully slow waltz ‘Dusk.’ Here, he also reconnects with elements from earlier works: the melodica, an instrument his father played for him when Blumm was only six, recalls his debut LP ‘Mondkuchen.’ He gravitates toward notes that nestle in the warm, low midrange and classical instruments that interact like characters in a novella, exchanging stories, learning from one another, progressing and passing by. The album radiates a sense of social well-being, human warmth, and togetherness as a counterpoint to contemporary isolation: sharing beauty, breathing in unison and connecting, positively

Music needs movement. Blumm’s melodies often come to him while cycling through Berlin in the evening. ‘While Leaving’ took shape as he waited for a bus to pull away from a beloved place, his luggage already packed — a composition born in a moment of transition, suspended “between two stools.” Music that captures a fleeting fragment of movement. “The only constant is change,” Heraclitus is said to have remarked. The floating chorales, sung by Lydia Pfefferkorn (Jacques Palminger & 440 Hz Trio) and Guido Möbius, reflect that liminal state. Blumm himself plays bowed double bass.

‘WELLEN FORMEN’ is an album that traces the fading of winter’s darker days while gently ushering in brighter, greener ones. If one were looking for a motto for this artist, it might be: “Blumm: Peaceful Proposals since 1998.” If one were searching for influences on this album, they might land on Michael Nyman, Moondog, Meredith Monk, Steve Reich, the Penguin Cafe Orchestra, Orchestre Tout Puissant Marcel Duchamp, or Antonio Carlos Jobim. But perhaps ‘WELLEN FORMEN’ is simply “just another Blumm album” — unmistakable and entirely his own.