It was pretty clear twelve years ago with the first issue and it is evident even now when the album is being re-launched: this is a timeless music piece that will never sink into oblivion with another hype.
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, flautist 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.“
Pocustone takes an open-eared listener also by its structural conception – songs interchange with a set of short, experimental soundscapes – originally titled as Mush Room Cuts. There is also an audiovisual track reflecting FLOEX ́s concern for multimedial creative facilities: „I am strongly interested in an area of mingling visual, biological and interactive elements working on an intermedial basis – all this relating to music or sound. The interactive audiovisual track „Candy Ski“ is my aproach in this territory.“
At 23, FLOEX was no newcomer to the Czech scene in 2001 – as featured on various compilations as Inform, The Future Sound Of Prague Vol.2 and 3 ao. The album even captivated Japanese headz thanks to Bridge/Geo Inc. distribution and „Phi_log“ was licensed to various compilations released in USA, Canada and Japan. As a remixer he scored for various artists such as Ivan Kral, ZKA4T and Monkey Business. His demo Hub album was distributed through his own website to fans worldwide. A project called Ema Tomatucha finds FLOEX meeting his pal Matouš Godík aka ZKA4T. And not to be missed – FLOEX live! The band performed for instance on the giant festival Open Airfield besides such names as The Orb, Biosphere or Richard Dorfmeister. The gentle groove was touching the dancefloor, too, through Philog ep (Stoika ST12002). Now the remixes done by Stonedhigh, Mimoň and Ema Tomatucha are attached to the album re- edition through a free download token.
And of course this is not the last say. After more than a decade there is the second album titled “Zorya” out. The FLOEX story continues.
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