August 12th 2013
The eagerly awaited Floex's new recording since Zorya LP/CD [Minority Records, 2011] comes out on August 23rd as "Gone" 10"LP on Denovali Records in a special thick gatefold sleeve and with a free download code featuring bonus track "Veronika's Dream" (Dikolson Remix) + digital download of the musical videos for the songs "Gone" and "Veronika's Dream".
Listen to the "Gone feat. Never Sol" track off the album here.
You can preorder the album here now and it will be shipped to you 1 week prior to the release date!
On Veronika Vlková's painting for Floex new EP "Gone", the mountain ghosts are watching the flood from the mountain tops which stick out of water. In his latest work Floex is trying to express the melancholic mood of the last days of stability and harmony. While "Gone" thematizes instability expressed by the Apocalypse in a "macroscopic sense", and musically for Tomáš in the quite traditional way of vocal pieces, the other two short ambient tracks accompanying the title song reflect the theme in different ways.
"Saturnin Fire And The Restless Ocean" creates a kind of "microscopic world" counterpart to "Gone". It was inspired by the thoughts on inner harmony by Tomáš' Chinese medicine doctor friend: when mind and heart are in balance, the heart is like shining fire and the mind is like a calm and still ocean. If things are getting unstable, the heart's fire is becoming volatile and the mind's ocean's waves start to swell. While "Saturnin …" is a very intimate song on this self-reflection of the personal psychic landscape, it easily becomes a strong epic hymn in the hands of Joe Acheson of Hidden Orchestra. With this, Joe is returning the remix favour on Hidden Orchestra's earlier Denovali Records release "Flight", which included Floex' "Dust Remix". It is great to listen to another offspring of the continuing dialogue between these musical mates.
There are more things that all songs of this release have in common - the typical sound of Floex' Petrof piano. It endorses the melancholic and ethereal mood of the EP songs, and the final four-hand piano piece "Time To Go" makes no exception. It includes field recordings grasping the theatrical "farewell" scene from a sound installation at the Brixen Fortress during the Manifesta festival. This song was originally created from the four-hand composition of Tomáš and his pianist friend Jiří Libánský, who met during their improvisation project "Orlak".
The title song "Gone" was especially composed for the Floex live vocalist Sára Vondrášková of Never Sol and meant to be performed on concerts, and it indeed soon become the pivotal song of Floex' playlist. The lyrics were written by Tomáš' long term collaborator Anya Stuart who besides being a singer, writer and musician works also as a movie director. When she heard the song she immediately offered Tomáš to make a video clip for it. Currently living in Paris, it no surprise that the main inspiration source for the video was the medieval French 'Apocalypse Tapestry' in Angers nearby Paris. Working with her photographer friend Michal Ureš behind the camera, they created free contemporary reinterpretations of selected scenes of the tapestry based on super slow motion shootings. This perfectly exemplifies the idea behind the song, a very odd moment in our life we don't recognise since it is happening very slowly from our personal point of view but very fast from the point of view of mankind. People are still behaving as if nothing would happen or change, but the fire is already behind their doors, the old times have already gone.
"Gone" is closing a certain period of Floex production which started with his 2nd full length album "Zorya" in 2011. After getting such a great feedback on this release, Tomáš decided to get back to it, pick up his favorite track "Veronika's Dream" and give it a little bit more attention. The result of this effort you can find as a downloadable bonus track accompanying this EP: a remix of "Veronika's Dream" by Dikolson, Tomáš favourite producer, and general iconic figure of the electronic music scene in Prague. Moreover, after about a year of preparation, a video clip for the original song was made. About 20 people, headed by director Tomáš Hájek, visual artist Anna Krticová and Veronika Vlková herself created rather a short movie inspired by Tomáš Dvořák's crazy surrealistic imaginary: the one-eyed Veronika is eaten by a wolf and inside of his stomach a floorball match is happening. She fights against her psychological antipode for her missing eye and wins just to uncover deeper sides of her existence.
June 4th 2013
Yes, it took a long time, yet worth the wait for. In 2001 after more than two years of busy work on a proper debut long play Tomáš Dvořák aka Floex could take a rest - the Pocustone album was finally out.
Pocustone goes on a kind of risky journey bridging relatively isolated islands such as electronica, jazz or modern contemporary music. This may stand as quite a wild scheme yet this combination works and comunicates to a listener. An unusual sound results in a very delicate instrumentation combining digital technology with the charm of wood instruments. A weird clarinet album or semi-acoustic downtempo? Floex explains:
"Electronic doesn´t mean to me just an instrumental, sonic aspect - it is foremost about the aproach of an artist. The way I work and think of wood instruments proceeds in a sort of electronic concept. As for the clarinet - I played it through my childhood so this is quite a natural return to it. There is also some kid stuff like the chime, harmonica or wooden blocks which I found at my cottage-loft last summer."
We should also mention guest artists appearing on the album - vocalist Ridina Ahmed, Petr Tichý on double bass, flutist Pavla Palánová and Radek Bureš playing drums. The songs have been rising at Floex's home Mush Room studio for almost three years and Floex is also the author of the album cover artwork.
This way of artistic expression may seem to be a bit complicated. The artist admits that music can reveal of its maker more than originally intended:
"People say that I cannot work the things simply and quickly which the both is and is not a pivotal problem of my production. I try to go deep, I am fascinated by ambiguity reached by the most elementary tools. Progression in the way of using minimalistic facility - this is what I am interested in. Basically my music is a sort of folder which makes a sense only as a whole. I am not a headstrong-type, I prefer progression, development, I like to take people by surprise."
It was pretty clear twelve years ago with the first issue and it is evident even now when the album is being reissued: this is a timeless music piece that will never sink into oblivion with another hype.
Feel free to place your orders here. Thank you!