The album opens with “Electrons,” an eight-minute launch that moves forward—and sideways. A kind of musical Morse code sparks against a menacing electronic bass and insistent drums, as Simon Althaus and Manuel Pasquinelli steer the listener through shifting tectonic plates of motif and rhythm. Fragments slide, dovetail, and recombine; six minutes in, an almost “conventional” keyboard break blooms and vanishes, ideas scattering like electrons in space. Unscharf—the duo’s second outing after Superposition—plays like a Polaroid developing in slow motion: initially disorienting (a waltzing keyboard pattern snagged by the drums), then increasingly inevitable, even revelatory. This isn’t abstraction for its own sake; it’s playful, atmospheric, and groove-driven, occasionally echoing the widescreen electronics of 1970s Germany, but with a more intricate rhythmic chassis. What to call it—jazz, rock, jazz-rock, electronica? Ultimately, the label matters less than the freedom at work here. Unscharf is music that makes uncommon sense, and makes you move. —Eric Facon