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. FLAU64
Release Date: March 15th, 2017
Format: LP/CD/Digital
英ブライトン出身のハープ奏者、マルチインストゥルメンタリストEmma Gatrillのニューアルバム。ほぼハープの弾き語りのみで製作されたファーストアルバムからBroken Social Scene、Laura Marlingらのツアーの経験を得て製作された本作では、アナログ・シンセやドラムマシーン、ギター、エレクトロニクスなど生楽器問わず新たなサウンドをふんだんに取り入れ、大きくスケールアップしたオーケストレーション・ポップを披露。同じハープ奏者のJoanna Newsomはもちろん、盟友Rachael DaddやRozi Planeらとも比較される柔らかなボーカルとクラシックなソングライティングに、多数のゲストアーティストの参加やマルチ奏者の面目躍如といった様々な楽器演奏と音楽的実験が繰り広げられています。より磨きのかかった楽曲は叙情に溢れ、バイオリンとギター、クラリネットがドラマチックに絡み合う「You」、ギリシャ神話を激しい弦と雷のドラムを背景に探検する「Philomela」、室内ポップオーケストレーションによって気候変動を描いた「Robin」など、粒立った楽曲揃いのアルバムでは損失と孤立、希望、そして共感といった普遍的な懸念が描かれます。ミックスはLaura Marling、Thurston Moore、Florence and the Machineなどの作品を手がけたDan Cox。「Cocoon」にはJuana Molinaの愉快な実験、Julia Holterの知的なポップ、「Vespatine」期のBjorkのようなテクスチャ豊かなアレンジメントがあります。
Emma Gatrill is a multi-instrumentalist based in Brighton, UK. Her debut, 2012’s Chapter I, was a poignant collection of songs based around her then-latest acquisition – the harp. Subtly accompanied by various members of Brighton’s Willkommen Collective, her intricate harp playing coupled with a unique vocal fragility drew comparisons to Björk and Joni Mitchell as well as her friends and co-conspirators Rachael Dadd and Rozi Plain. By the time the album came out, she’d already played clarinet in Laura Marling’s band on Glastonbury’s Pyramid stage, made up part of Broken Social Scene’s horn section on a run of UK dates and toured all over Europe as part of Sons Of Noel And Adrian. Since then she’s been touring and collaborating with kindred spirit Kristin McClement and as a member of Matthew & The Atlas. In amongst it all, Gatrill somehow found time to develop her own live show beyond the simplicity of Chapter I; augmenting her harp and vocal with ambient analogue synths and drum machines using foot controllers, as well as introducing accompanying guitar atmospherics from label-mate Marcus Hamblett. Five years and hundreds of live shows with dozens of different bands later, her larger-scale live ambitions fed back into the writing and recording process for Gatrill’s forthcoming second album, Cocoon. The album showcases a huge leap forward in scope and imagination. The harp, tender vocal and unique take on classic songwriting are still at the core of Gatrill’s sound, but the arrangements draw from a much wider and often darker sonic palette – from orchestral strings to monosynths, drum machines to tap shoes and Casio keyboards to vibraphones. Gatrill’s circle of influences has widened too – on Cocoon Emma draws from the joyful experimentation of Juana Molina and the intelligent pop and texturally rich arrangements of Julia Holter and My Brightest Diamond. While the songs are more honed and focused, the lyrical content is broader. Philomela explores Greek mythology to the backdrop of tumultuous strings and thunderous drums and Robin tackles climate change set to chamber pop orchestration; while universal concerns of loss, isolation, hope and togetherness tie the album together. The album was mixed by Dan Cox whose work for the likes of Laura Marling, Thurston Moore and Florence and the Machine lead to him being named Breakthrough Engineer Of The Year at the Music Producer’s Guild awards.
02 Robin
03 Wild Waters
04 Odd Ones Out05 Space
06 Cocoon 07 You08 Philomela
09 Eliza Harora
10 Cast Outbetween the Julia Holter aurora and the Sufjan Stevens supernova…she quivers in a Björk-like cadence – Stereogum
a record of exquisitely crafted beauty…beautiful slab of skewed folk-pop brilliances – The Line Of Best Fit
beautiful music – Lucy Rose
wonderful sparsity – folk-hewn idiosyncrasies – Clash
There’s been a marked leap forward in terms of the quality of songwriting too, with more developed and nuanced melodies – Record Collector
indicative of her delicate compassion and powerful emotion – Gold Flake Paint
feels like being wrapped up in a warm series of comforters in the quaint & quiet chambers of one’s own room – Impose Magazine
delicate folk-pop piece which mix harp chords and a dreamy vocal – Son Of Marketing
beautifully hazed slice of woodland enchantment – The Sunday Experience
risultante dall’intreccio di una serie di filigrane esili, preziose, incantat – Music Won’ts Save You (Album Of The Week)
柔らかな歌声で綴られる孤独や希望、他者との共存といった普遍的なテーマの描写力たるや…ポストジョアンナ・ニューサムと喩えるには早計で勿体ない存在 – Mikiki/Bounce
CAT No. FLAU64
Release Date: March 15th, 2017
Format: LP/CD/Digital
02 Robin
03 Wild Waters
04 Odd Ones Out05 Space
06 Cocoon 07 You08 Philomela
09 Eliza Harora
10 Cast Out英ブライトン出身のハープ奏者、マルチインストゥルメンタリストEmma Gatrillのニューアルバム。ほぼハープの弾き語りのみで製作されたファーストアルバムからBroken Social Scene、Laura Marlingらのツアーの経験を得て製作された本作では、アナログ・シンセやドラムマシーン、ギター、エレクトロニクスなど生楽器問わず新たなサウンドをふんだんに取り入れ、大きくスケールアップしたオーケストレーション・ポップを披露。同じハープ奏者のJoanna Newsomはもちろん、盟友Rachael DaddやRozi Planeらとも比較される柔らかなボーカルとクラシックなソングライティングに、多数のゲストアーティストの参加やマルチ奏者の面目躍如といった様々な楽器演奏と音楽的実験が繰り広げられています。より磨きのかかった楽曲は叙情に溢れ、バイオリンとギター、クラリネットがドラマチックに絡み合う「You」、ギリシャ神話を激しい弦と雷のドラムを背景に探検する「Philomela」、室内ポップオーケストレーションによって気候変動を描いた「Robin」など、粒立った楽曲揃いのアルバムでは損失と孤立、希望、そして共感といった普遍的な懸念が描かれます。ミックスはLaura Marling、Thurston Moore、Florence and the Machineなどの作品を手がけたDan Cox。「Cocoon」にはJuana Molinaの愉快な実験、Julia Holterの知的なポップ、「Vespatine」期のBjorkのようなテクスチャ豊かなアレンジメントがあります。
Emma Gatrill is a multi-instrumentalist based in Brighton, UK. Her debut, 2012’s Chapter I, was a poignant collection of songs based around her then-latest acquisition – the harp. Subtly accompanied by various members of Brighton’s Willkommen Collective, her intricate harp playing coupled with a unique vocal fragility drew comparisons to Björk and Joni Mitchell as well as her friends and co-conspirators Rachael Dadd and Rozi Plain. By the time the album came out, she’d already played clarinet in Laura Marling’s band on Glastonbury’s Pyramid stage, made up part of Broken Social Scene’s horn section on a run of UK dates and toured all over Europe as part of Sons Of Noel And Adrian. Since then she’s been touring and collaborating with kindred spirit Kristin McClement and as a member of Matthew & The Atlas. In amongst it all, Gatrill somehow found time to develop her own live show beyond the simplicity of Chapter I; augmenting her harp and vocal with ambient analogue synths and drum machines using foot controllers, as well as introducing accompanying guitar atmospherics from label-mate Marcus Hamblett. Five years and hundreds of live shows with dozens of different bands later, her larger-scale live ambitions fed back into the writing and recording process for Gatrill’s forthcoming second album, Cocoon. The album showcases a huge leap forward in scope and imagination. The harp, tender vocal and unique take on classic songwriting are still at the core of Gatrill’s sound, but the arrangements draw from a much wider and often darker sonic palette – from orchestral strings to monosynths, drum machines to tap shoes and Casio keyboards to vibraphones. Gatrill’s circle of influences has widened too – on Cocoon Emma draws from the joyful experimentation of Juana Molina and the intelligent pop and texturally rich arrangements of Julia Holter and My Brightest Diamond. While the songs are more honed and focused, the lyrical content is broader. Philomela explores Greek mythology to the backdrop of tumultuous strings and thunderous drums and Robin tackles climate change set to chamber pop orchestration; while universal concerns of loss, isolation, hope and togetherness tie the album together. The album was mixed by Dan Cox whose work for the likes of Laura Marling, Thurston Moore and Florence and the Machine lead to him being named Breakthrough Engineer Of The Year at the Music Producer’s Guild awards.
