Flowchart

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风格: #科技舞曲　#科技浩室
地区: 欧美

艺人介绍

by Johnny LoftusWhen Flowchart debuted with 1995s Multi-Personality Tabletop Vacation (Carrot Top), the Philadelphia group was equally derided/lauded for its striking similarities to space pop veterans Stereolab and Neu!. Many accused the band of blatant thievery, but there was also a grudging admiration for its detailed and entertaining facsimile. Luckily, Flowchart mastermind Sean ONeal muted and expanded on his influences after Tabletop, a move which largely evened out the polarized reaction to his work. 1996s Tenjiru EP was a lengthy exploration of clicks and buzzes, while a few other releases (including the memorable Burnt Hair release Hallow Sky) explored four-track drones. For 1997s Cumulus Mood Twang, main ONeal collaborator Brodie Budd was sacked in favor of Erin Anderson, and the stylistic palette was widened to include references to indie rock and literate dance acts like New Order. After a detour into the electronic oddity Flowtron, Flowchart returned with 1999s Commercial (which featured a co-conspirator in HollAnd), moved into experimental techno for 2000s Gee Bee EP, and ended up sounding like a pretty legitimate dance/house project on May 2003s Broken and Blue. That summer, Fuzzy Box released two volumes compiling Flowcharts pre-2000 singles and compilation tracks, as well as Evergreen Noise Is Flexible/Spirit of Kenny G, which combined the two mid-90s EPs onto one CD.

Flowchart

艺人介绍

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