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. FLAU97
Release Date: June 22nd, 2022
Format: LP/DIGITAL
Miroir is the second release of Berlin based duo NOUS
– Marie Séférian and Henning Schmiedt.
The poetic album deals with space, reflections, surrealism.
After their post chanson debut album Je Suis, the duo now creates an atmospheric soundtrack for an imaginary film. “Hoffmanniana” is the title of director Andrei Tarkovsky’s scenario for a movie about the 19th-century German poet E.T.A. Hoffmann, a project he could never realize. Tarkovsky felt profoundly connected to the German Classicistic period and Hoffmann, who used surreal and sarcastic elements in his short stories.
Some of the album’s songs reflect scenes written in Tarkovsky’s scenario directly – E.T.A.’s penchant for cats, for instance, the mystic mirror tales, and his surrealistic settings find their way into Marie’s lyrics.
Tarkovsky’s work often praises the beauty of decline as an art of transition. In the former Soviet Union, this was considered a critique of the ruling aesthetics of Socialist Realism and art as a weapon in the Cold War. Living in a communist dictatorship himself in the 80’s, Henning was sensing that Tarkovsky was using these aesthetics to criticize society. A socially critical element is present in Hoffman’s work as well.
Tarkovsky’s praise of imperfection and slowness appeals to (no)us because it feels like a silent protest against the present-day, high-speed lifestyle and its irresponsible and damaging tendencies.
“As musicians, we always value space and rest in music because the audience can reflect, contemplate, react and create their imaginations on the piece, perhaps in an ideal way that we couldn’t even play”.
01 Notturno
02 Miroir03 Reflecting the infinite
04 Voliere
05 Murr
06 Espérer
07 Gute Nacht08 Doppelgänger
09 I like smaller things
10 Miau
11 SiuSiuSiu
12 Zersprungen in ungezählte Stücke
13 Nachtstück
14 Folgendermaßen
CAT No. FLAU97
Release Date: June 22nd, 2022
Format: LP/DIGITAL
01 Notturno
02 Miroir03 Reflecting the infinite
04 Voliere
05 Murr
06 Espérer
07 Gute Nacht08 Doppelgänger
09 I like smaller things
10 Miau
11 SiuSiuSiu
12 Zersprungen in ungezählte Stücke
13 Nachtstück
14 Folgendermaßen
Miroir is the second release of Berlin based duo NOUS
– Marie Séférian and Henning Schmiedt.
The poetic album deals with space, reflections, surrealism.
After their post chanson debut album Je Suis, the duo now creates an atmospheric soundtrack for an imaginary film. “Hoffmanniana” is the title of director Andrei Tarkovsky’s scenario for a movie about the 19th-century German poet E.T.A. Hoffmann, a project he could never realize. Tarkovsky felt profoundly connected to the German Classicistic period and Hoffmann, who used surreal and sarcastic elements in his short stories.
Some of the album’s songs reflect scenes written in Tarkovsky’s scenario directly – E.T.A.’s penchant for cats, for instance, the mystic mirror tales, and his surrealistic settings find their way into Marie’s lyrics.
Tarkovsky’s work often praises the beauty of decline as an art of transition. In the former Soviet Union, this was considered a critique of the ruling aesthetics of Socialist Realism and art as a weapon in the Cold War. Living in a communist dictatorship himself in the 80’s, Henning was sensing that Tarkovsky was using these aesthetics to criticize society. A socially critical element is present in Hoffman’s work as well.
Tarkovsky’s praise of imperfection and slowness appeals to (no)us because it feels like a silent protest against the present-day, high-speed lifestyle and its irresponsible and damaging tendencies.
“As musicians, we always value space and rest in music because the audience can reflect, contemplate, react and create their imaginations on the piece, perhaps in an ideal way that we couldn’t even play”.
