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. FLAU41
Release Date: June 22th 2014
Format: CD/Digital
モダン・クラシカル、エレクトロニカ、アンビエント、ポストロックなどジャンルレスに活躍し、そのイマジネイティブな孤高のサウンドスケープで注目を浴びるアルゼンチン・ポスト音響派の貴公子Ulises Conti。昨年ソロキャリア10周年を記念したベスト盤『ATLAS』をリリース、初の来日公演も成功させ、ついに待望のニューアルバムをリリースします。
通算６枚目となる新作『Los Griegos creían que las estrellas eran pequeños agujeros por donde los dioses escuchaban a los hombres』は27のピアノとサウンドスケープ、フィールドレコーディングからなる小品集。
AからZまで27の楽曲は、「サウンドのアルファベット」をコンセプトに、ピアノを中心とした演奏と、遊園地、子ども達、虫の声、バスケットボールの試合、飛行機や鐘の音など、Ulisesの周りで聴こえる日常生活に潜む音を録音、加工し、これらの楽器／非楽器の全てが新しい音として再定義されるように処理されています。メランコリックで映像的なピアノとサウンドスケープが、斬新な音響設計により、27の多彩な音像にめくるめく引き込まれるピアノ・アンビエントの新たなマスターピース。Shitkatapultからリリースのある奇才Ismael Pinklerがプロデューサーとして参加し、ピアノの音響を新たなフェイズへと移行させる強烈なインパクトを持った野心作です。
27 pieces, from A to Z. This recording was thought as a sound alphabet, including different types of resonances and doing a close up in the sound transformation process itself. It includes acoustic manipulations with diferents methods, both digital and analogic.
The album contains musical instruments, soundscapes and field recordings of the everyday life, where it is possible to hear from pieces for processed piano to whispers of amusement parks, children, insects, basketball games, aircrafts or bell towers. However, all these sounds both musical instruments and sound objects are processed in such a way that new sounds are redefined.
The process of this album took place in 2013 between Germany and Argentina and was produced by Ismael Pinkler. This album investigates both in content and form the parameters of our manners and ways to relate with sound and music. What is exactly an album? How long should it last? How many songs should it have? How should it sound?
The composer renews our sense of connection to these strange, almost invisibly familiar little squiggles of code, turning us into sonic cryptographers
– Pitchfork (7.5)
“N,” which feels like napping at twilight by a pond, and “S,” whose barely glitchy processing suggests an entirely new world of digital fields to explore. – THE FADER
Pianista y ocasional guitarrista, con la música que compone e interpreta viaja por todo el mundo – La Nacion
while the twisting effects of the keys catch your fancy, an atmosphere of captured winds swirls on the tape like the scrambled coded whispers of ghosts traveling in the night – IMPOSE Magazine
truly amazing – Cyclic Defrost
Reminiscent of the Erased Tapes catalogue, the sparse piano driven piece has a soundtrack feel, with each note betraying a visual quality. – Clash Magzine
a narcoleptic, dreamy one; the perfect listen for the early hours of your mornings and a declaration of intent – Going Solo
A playful concept has led to an inspired performance, and the pianist deserves a pat on the back – A Closer Listen
クラシカルな風合いながらジャンルを越境したコンポーズ、エレクトロニクスやフィールドレコーディングを交えたインストゥルメントワークを駆使し、独特の ノスタルジアを湛えたメランコリックな楽曲群…ピアノが発する明確な音階と、日常の環境音がお互いに輪郭を暈し、移ろいながら融け合う様を味わうことができます – CD Journal
厳かな音像に包み込まれる極上のモダン・クラシカル…これは紛れもない傑作 – STORE15NOV
CAT No. FLAU41
Release Date: June 22th 2014
Format: CD/Digital
モダン・クラシカル、エレクトロニカ、アンビエント、ポストロックなどジャンルレスに活躍し、そのイマジネイティブな孤高のサウンドスケープで注目を浴びるアルゼンチン・ポスト音響派の貴公子Ulises Conti。昨年ソロキャリア10周年を記念したベスト盤『ATLAS』をリリース、初の来日公演も成功させ、ついに待望のニューアルバムをリリースします。
通算６枚目となる新作『Los Griegos creían que las estrellas eran pequeños agujeros por donde los dioses escuchaban a los hombres』は27のピアノとサウンドスケープ、フィールドレコーディングからなる小品集。
AからZまで27の楽曲は、「サウンドのアルファベット」をコンセプトに、ピアノを中心とした演奏と、遊園地、子ども達、虫の声、バスケットボールの試合、飛行機や鐘の音など、Ulisesの周りで聴こえる日常生活に潜む音を録音、加工し、これらの楽器／非楽器の全てが新しい音として再定義されるように処理されています。メランコリックで映像的なピアノとサウンドスケープが、斬新な音響設計により、27の多彩な音像にめくるめく引き込まれるピアノ・アンビエントの新たなマスターピース。Shitkatapultからリリースのある奇才Ismael Pinklerがプロデューサーとして参加し、ピアノの音響を新たなフェイズへと移行させる強烈なインパクトを持った野心作です。
27 pieces, from A to Z. This recording was thought as a sound alphabet, including different types of resonances and doing a close up in the sound transformation process itself. It includes acoustic manipulations with diferents methods, both digital and analogic.
The album contains musical instruments, soundscapes and field recordings of the everyday life, where it is possible to hear from pieces for processed piano to whispers of amusement parks, children, insects, basketball games, aircrafts or bell towers. However, all these sounds both musical instruments and sound objects are processed in such a way that new sounds are redefined.
The process of this album took place in 2013 between Germany and Argentina and was produced by Ismael Pinkler. This album investigates both in content and form the parameters of our manners and ways to relate with sound and music. What is exactly an album? How long should it last? How many songs should it have? How should it sound?
