2006年末に設立された東京のレコード・レーベル。
the nation’s premier label for hushed music – Pitchfork
Flau releases are sonically quite diverse, from acoustic folk to dream pop and complex drum experiments. And though eclectic, never before has a label’s oeuvre come together to so closely sound the way a cherry blossom looks – The FADER
one of the biggest names in the world of really small sounds…the perfect soundtrack to a Sunday evening – Timeout Tokyo
consistently impressive – XLR8R
Flau has associated itself with a signature sound…association with Flau suggests a superior level of pop craftsmanship…What’s remarkable about Fukuzono’s project, which launched at the end of 2006, is that he’s achieved quality control without uniformity – exclaim!
Flau has shown that sometimes silence beats flashiness – METROPOLIS Magazine
flau seem to have a magic touch; everything they put out..has a celestial, positively glowing aura about it that has us longing for more..sonically the label is incredibly diverse, but what its releases share in common are a playful curiosity, an unmatchable quality and a genre-bending commitment to evoking time and space within their sounds – DUMMY
Flau label casts its net across a worldwide community of artists with a particular affection for fragile arrangements and microscopic songwriting…A reliable resource for all the finest, quirkiest exploratory electronic pop music – Boomkat
it combines genuine emotion with a sense of playfulness – Fluid Radio
everyone’s favourite Japanese label and, of course, we make no exception – Going Solo
constantly surprising, consistently stunning – Dummy
un monde de l’infiniment fragile et doux – Ondefixe
one of our favourite labels – Textura
Flau are one of those unassuming labels, which since 2007 have been quietly making their way in the world releasing a diverse range of high quality albums…their roster of international artists blend field recordings, acoustic instruments, microsounds, and voice, in a sound that has become truly synonymous with the label – Furthernoise
worth finding – Foxy Digitalis
grow, pushing boundaries and releasing gems – Drifting, Almost Falling
An inner experience and pure fascination to little things concept and microscopic sounds. FLAU is the latest Label Of The Moment – Otsechka
the Tokyo label’s dreamy and cinematic aesthetic seems tailor-made for two favourite hobbies: idleness and letting the imagination run wild – Solar Flares
This label collects very particular artists from all over the world all under one roof that eclectically holds them together. Each artist is so unique, that you would like to read a whole book about them – PonyDanceClyde
2008-09 London, Cafe OTO
2009-09 Melbourne, Toff In Town
2010-08 Berlin, Altes Finanzamt
2012-05 Malaysia, Black Box Map
2012-05 Macau, LMA
2012-05 China Tour Beijing-Shanghai-Hangzhou
2012-06 Tokyo, Fujimigaoka Church & VACANT
2012-06 Kyoto, Metro
2013-04 London, Cafe OTO
2013-04 Berlin, Antje Øklesund
2013-12 Tokyo, VACANT
2016-03 Tokyo, VACANT
SEE FULL LIST
©FLAU
CAT No. FLAU21
Release Date: Japan -May 18th / Overseas -Aug 27th, 2011
Format: CD/DIGITAL
僕の机の引き出しの中には、15年近く前から、音楽やメロディのかけらや、作りかけの曲や紙に走り書きしたコードたちが積もっている。
僕がそれらの断片たちをまとめて、それらに一つの形、一つの顔を与えられることになったのは、地球の反対側（ベルギーから見ると、日本は地球の反対側）のあるレーベルから作品をリリースする機会を得たためだった。
これらの音楽がずっと引き出しの中にあったのは、ここベルギーで、それらをどのケースに入れればいいか分からなかったためだろう。ジャズでなければ、現代音楽と呼ばれるものでもなく、かと言って、ポップスや歌でもない…。多分それらのすべてであり、他のものかもしれなかった。遠い所でCDを出すことになっ た時、これらの疑問は消え失せて、それは単に音楽、僕の音楽であって、それでいいように思われた。
もっと正確に言うと、これらは僕の中に最も自然に生まれてくる音楽だろう。
月並みな表現になることを恐れずに言うと、これらはまさに道を歩いているとき、何も考えずに車を運転しているとき、自分の中に浮かんでくる音楽、誰に頼まれることなく自然に生まれてくる音楽なのだ。そして、それは抵抗しがたいものだ。なぜなら、それは、僕を少年時代、あるいは子供時代にまで連れ戻すものだからだ。子供の時、僕は幸運なことに、自分の中に宿り、取り付き、僕を訪ねてくる音楽がずっと身近にあった。その当時は、音で満たされた世界に生きること が幸運であることに気づいていなかった。大人になると、僕たちは、現実はもっと重大なんだと知らされる。
今これらの音楽は世界の陳腐さへの抵抗となった。
そういう訳で、このアルバムは今までに作ったものの中で、最も自分らしいものだろう。なぜなら、それは、僕にとって自然なものにもっとも近いからだ。これらの音楽の源泉は、自分にとって最も古く、不可思議で、無意識的な感情なのである。
レコーディングの際、時間に余裕がなかったにもかかわらず、これらの音楽からは静けさが漂う。音楽が時々僕たちを導いてくれたり、ドアを開けてくれたりす る、僕たちには行きたくてもいけないどこか、そんな失った世界の懐かしさのように。これらの音楽は世界の外観の影の、大人の目には見えなくなってしまった ものを見せようとしたり、僕たちが気づくけれども口に出されることのない行の間にあるものを読ませようとする。もしそれを聞くことができれば。
For nearly 15 years, I’ve been collecting music in my drawers. Bits of melodies, half-finished pieces, a few chords thrown hastily onto a sheet of paper. It was necessary for someone at the other end of the world (for Belgium, Japan is at the other end of the world) to ask me to release a CD there, for me to put together all these musical bits and pieces and give them, at last, a shape and a face. If this music has been in my drawers for so long, it may be because here in Belgium, I didn’t know where it belonged. Not jazz, nor what one may call contemporary music, nor pop, nor chanson… Maybe a bit of everything, maybe something else. It seems to me that by releasing a CD so far from home, these questions would be allowed to fade and that it would be enough to say that it is all simply music, my music.
More precisely, this is the music which comes to me most effortlessly.
At the risk of giving in to certain clichés, I must say that this is the music which comes to me as I am walking down the street, or absent-mindedly driving in my car. Music which surfaces naturally, without being summoned. And it is so irresistible, because it brings me back to my adolescence, and even my childhood, during which I have had the good fortune of being swept away by music, which was a living part of me, haunting me, relentlessly calling upon me. At the time I was not aware that to live thus, in a world filled with sounds, was extraordinary. I believed it to be the norm. Later, adulthood attempts to persuade us that reality is altogether something far more serious.
Today, it is this music which has become a stronghold against the commonplace banal reality of the world.
This is why this album may very well be the most personal I have ever made. Because it reaches what is most natural within myself. It springs from my oldest emotions, the most mysterious, the most unconscious ones.
Although recorded with a certain urgency, a great calmness seems to emanate from this music. Much like the pervasive longing for a lost world to which music allows, from time to time, an entrance, a door to an elsewhere which remains forever elusive. This music attempts to grasp behind the world’s façade something else, which our grown-up eyes can no longer see. It attempts to read between the lines what is not said but which we can perceive if only we know how to listen.
Between the lines…
– Jean-Philippe Collard-Neven
01 Leaving Valparaiso
02 Falling Star 1
03 Falling Star 204 Falling Star 3
05 Falling star 4
06 Gus
07 Lost Paradise
08 Northern lights
09 Moon Smile
10 Toinou
11 A Kiss by the Sea
12 Between the Lines
13 Dust's Hope
Suite of beautifully fragile, minimal solo piano compositions – Boomkat
reminds one of legendary Charlie Brown composer Vince Guaraldi mixed with Yann Tiersen..Collard-Neven embraces the light – Fluid Radio
regal beauty with spring fragrant floral posies – The Sunday Experience
more Bill Evans than Arturo Benedetti Michelangel…They’re consistently pretty too, not to mention filled with emotion, whether that be melancholy, jubilance, or even mournfulness – Textura
良心的で慎重でありながら瑞々しさ溢れる躍動感、繊細にして洗練された感性に導かれた美しいソノリティー – Pastel Records
様々な音楽のエッセンスを独自昇華した素晴らしい旋律、和声感。解釈、創造のこれ程のバランス感覚を併せ持ったビアニストはそうは居ないだろう – Intoxicate
近年のポスト・クラシカル作品の中でも抜きんでた輝きを放つ名作 – BEAMS Records
CAT No. FLAU21
Release Date: Japan -May 18th / Overseas -Aug 27th, 2011
Format: CD/DIGITAL
01 Leaving Valparaiso
02 Falling Star 1
03 Falling Star 204 Falling Star 3
05 Falling star 4
06 Gus
07 Lost Paradise
08 Northern lights
09 Moon Smile
10 Toinou
11 A Kiss by the Sea
12 Between the Lines
13 Dust's Hope
僕の机の引き出しの中には、15年近く前から、音楽やメロディのかけらや、作りかけの曲や紙に走り書きしたコードたちが積もっている。
僕がそれらの断片たちをまとめて、それらに一つの形、一つの顔を与えられることになったのは、地球の反対側（ベルギーから見ると、日本は地球の反対側）のあるレーベルから作品をリリースする機会を得たためだった。
これらの音楽がずっと引き出しの中にあったのは、ここベルギーで、それらをどのケースに入れればいいか分からなかったためだろう。ジャズでなければ、現代音楽と呼ばれるものでもなく、かと言って、ポップスや歌でもない…。多分それらのすべてであり、他のものかもしれなかった。遠い所でCDを出すことになっ た時、これらの疑問は消え失せて、それは単に音楽、僕の音楽であって、それでいいように思われた。
もっと正確に言うと、これらは僕の中に最も自然に生まれてくる音楽だろう。
月並みな表現になることを恐れずに言うと、これらはまさに道を歩いているとき、何も考えずに車を運転しているとき、自分の中に浮かんでくる音楽、誰に頼まれることなく自然に生まれてくる音楽なのだ。そして、それは抵抗しがたいものだ。なぜなら、それは、僕を少年時代、あるいは子供時代にまで連れ戻すものだからだ。子供の時、僕は幸運なことに、自分の中に宿り、取り付き、僕を訪ねてくる音楽がずっと身近にあった。その当時は、音で満たされた世界に生きること が幸運であることに気づいていなかった。大人になると、僕たちは、現実はもっと重大なんだと知らされる。
今これらの音楽は世界の陳腐さへの抵抗となった。
そういう訳で、このアルバムは今までに作ったものの中で、最も自分らしいものだろう。なぜなら、それは、僕にとって自然なものにもっとも近いからだ。これらの音楽の源泉は、自分にとって最も古く、不可思議で、無意識的な感情なのである。
レコーディングの際、時間に余裕がなかったにもかかわらず、これらの音楽からは静けさが漂う。音楽が時々僕たちを導いてくれたり、ドアを開けてくれたりす る、僕たちには行きたくてもいけないどこか、そんな失った世界の懐かしさのように。これらの音楽は世界の外観の影の、大人の目には見えなくなってしまった ものを見せようとしたり、僕たちが気づくけれども口に出されることのない行の間にあるものを読ませようとする。もしそれを聞くことができれば。
For nearly 15 years, I’ve been collecting music in my drawers. Bits of melodies, half-finished pieces, a few chords thrown hastily onto a sheet of paper. It was necessary for someone at the other end of the world (for Belgium, Japan is at the other end of the world) to ask me to release a CD there, for me to put together all these musical bits and pieces and give them, at last, a shape and a face. If this music has been in my drawers for so long, it may be because here in Belgium, I didn’t know where it belonged. Not jazz, nor what one may call contemporary music, nor pop, nor chanson… Maybe a bit of everything, maybe something else. It seems to me that by releasing a CD so far from home, these questions would be allowed to fade and that it would be enough to say that it is all simply music, my music.
More precisely, this is the music which comes to me most effortlessly.
At the risk of giving in to certain clichés, I must say that this is the music which comes to me as I am walking down the street, or absent-mindedly driving in my car. Music which surfaces naturally, without being summoned. And it is so irresistible, because it brings me back to my adolescence, and even my childhood, during which I have had the good fortune of being swept away by music, which was a living part of me, haunting me, relentlessly calling upon me. At the time I was not aware that to live thus, in a world filled with sounds, was extraordinary. I believed it to be the norm. Later, adulthood attempts to persuade us that reality is altogether something far more serious.
Today, it is this music which has become a stronghold against the commonplace banal reality of the world.
This is why this album may very well be the most personal I have ever made. Because it reaches what is most natural within myself. It springs from my oldest emotions, the most mysterious, the most unconscious ones.
Although recorded with a certain urgency, a great calmness seems to emanate from this music. Much like the pervasive longing for a lost world to which music allows, from time to time, an entrance, a door to an elsewhere which remains forever elusive. This music attempts to grasp behind the world’s façade something else, which our grown-up eyes can no longer see. It attempts to read between the lines what is not said but which we can perceive if only we know how to listen.
Between the lines…
– Jean-Philippe Collard-Neven
