It's funny how review writers are looking for ways to compare Flim's style to that of other artists. They'll come up with names like Satie, März, Philip Glass, Wechsel Garland or even Michael Nyman, only to discard those comparisons again in the next moment. Which is the key to it all. Flim's style is unique and not really comparable to anything. Listening to his music, you'll soon have to do away with those rigid thinking patterns.

The best bet is to describe the music. But even there, review writers are not too sure. They may want to include sparingly used piano chords, digital sprinkles and contorted chants by Native Americans in their descriptions. The point is that Flim's tracks are full of surprises. Their brevity lets them appear as barely tangible dream sequences flashing by. The beautiful thing is that you can reach and recall them.

The longer I'm listening to Flim's tracks and the more often I'm reading the term "pop" in connection with his music, the harder it is for me to believe that it's pop. Flim doesn't create music that is 'publically accessible', even if the usage of certain keys, pitches and instruments may give this impression at times.

Flim's music is discreet, and sometimes, in a way, impulsive. The music takes place in the background, almost in concealment and because of that, it comes across as mysterious. You could listen to it on Sundays or at night, sitting alone on a mountain, lost in thoughts.

If you want to hear more of Flim's music, check out the CDs 'Helio' or 'Given You Nothing' on the Cologne label Tomlab or the CD 'Holiday Diary' on Plinity Plonk.


Phonocake Releases


Pola Music (CD, Album)
Ohne Titel 1916 (CD, Album)
Helio (CD)
Given You Nothing (Album, CD, LP)
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