The Japanese label Flau gives a gentle yet thorough internal investigation of homemade electronica of the poetic sort. With releases from Cokiyu through to Aus and, more recently, Dale Berning, the label hosts artists who take concern to transpose the great feverish crests and sloughs of despond into dark starry fields of wobbly beats, joyously squelchy synths and mellifous sighs whose lack of turbulence does not denote a lack of depth. Echod was its first born – a double album which features fifteen exclusive songs from like-minded groups. Asides from the aforementioned, Glim, Shuta Hasanuma, Aerosol, Montag, Aus, The Boats, and Hood turn in contributions, beside a fine crop of lesser-known artists, many of whom turn in quality material, as well.
Wry, delirious, creative, contemplative, and sometimes simply happy, the album’ unfolding is a compelling stumble, one that is able to land short of being terribly precious or twee. Rather, the groups relax and delight in the details, without squandering a sense of drama along the way. Pieces remain distinct, but are illuminated by a similar heady ambience, under which a few notes or a faint shift of emphasis opens up panoply of layers. Tsukimono centers on benignly purposeful softly ringing bells, while the piece from Fedaden is well stocked with crisp beats and spitting noises, and Liz presents a creative splicing of old swing music, electro-burps, and humorous spoken word samples. Interspersed with the odd slowcore track – beautifully slow, calm selections drawn from Britta Persson and others – these movements stir rather than saturate the senses, and serve as a suitable introduction and enjoyable collection in its own right.
Max Schaefer
