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When Flowchart debuted with 1995’s Multi-Personality Tabletop Holiday (Carrot Best), the Philadelphia group was similarly derided/lauded because of its striking similarities to space pop veterans Stereolab and Neu!. Many accused the music group of blatant thievery, but there is also a grudging admiration because of its comprehensive and engaging facsimile. Fortunately, Flowchart mastermind Sean O’Neal muted and extended on his affects after Tabletop, a move which generally evened out the polarized a reaction to his function. 1996’s Tenjiru EP was an extended exploration of clicks and buzzes, while additional releases (like the unforgettable Burnt Hair discharge Hallow Sky) explored four-track drones. For 1997’s Cumulus Disposition Twang, primary O’Neal collaborator Brodie Budd was sacked and only Erin Anderson, as well as the stylistic palette was widened to add personal references to indie rock and roll and literate dance serves like New Purchase. Following a detour in to the digital oddity Flowtron, Flowchart came back with 1999’s Business (which highlighted a co-conspirator in HollAnd), transferred into experimental techno for 2000’s Gee Bee EP, and finished up sounding such as a quite legitimate dance/home project on, may 2003’s Broken and Blue. That summer months, Fuzzy Container released two amounts compiling Flowchart’s pre-2000 singles and compilation monitors, in addition to Evergreen Noise Is normally Flexible/Heart of Kenny G, which mixed both mid-’90s EPs onto one Compact disc.

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