BIO

The duo of MICHAEL FLOWER (Vibracathedral Orchestra) and CHRIS CORSANO (Bill Orcutt, Rangda, Mette Rasmussen, et.al.) formed back in 2005. In the years since their debut album The Radiant Mirror (Textile, 2007), they have toured and recorded frequently, issuing forth a stream of endlessly mutating free sound, a unique mind-merge between Corsano’s drums and Flower’s amplified Japan Banjo (also known as a Shahi Baaja, a type of electric Indian zither with both fretted/keyed and drone strings). Flower cuts a highly original line, playing neither “leads” nor making drone-music, while Corsano also shifts from foreground explosions to background comping in a constant push-pull between the two players that results in an ecstatic lift-off of the highest order with seamless shifts between tumultuous intensity and blissed-out serenity.
 

DISCOGRAPHY

Radiant Mirror CD/LP (Textile 2007)
"The Undisputed Dimension" b/w "The Fifth Truth" 7inch (No-Fi 2007)
The Four Aims CD/2LP (VHF 2009)
The Chocolate Cities CDR (self-released 2009)
You'll Never Work In This Town Again CDR (self-released 2010)
Live at Scheld'apen DVDr (Taping Policies 2010)
Flower-Corsano-Hejnowski The Count Visits LP (Flowerhouse/Hot Cars Warp 2011)
Syracuse Live CDR (self-released 2014)
The Halcyon LP (VHF 2022)

PHOTOS:

INTERVIEW:

Flower-Corsano interview in Vistation Rites


PRESS QUOTES:

“There are few sounds so unique in improvised music today, and the duo's perfection of this kind of head-on freedom is rarely matched in any circle” – Brainwashed

“They evoke Rudolph Grey's far-out travels with Rashied Ali, Keiji Haino's bursting solos in Fushitsusha, maybe even what Jimi Hendrix and Mitch Mitchell are playing in the after-life." – Pitchfork

“OK, so Flower/Corsano don’t build their music from advanced mathematics, more the intuitive logic of friendship and honed improvising skills; nor, I don’t think, are they intending to cause waking dreams or hallucinations. But those who witness one of their performances, at which Flower pulls endless solos from a strange long instrument with typewriter keys that perches incongruously on an ironing board, while Corsano manipulates kit, gongs, bells and junk like a one-man gamelan ensemble, frequently leave feeling a little unusual, certainly monopolized, transformed, wide-eyed with the thrill of having been pulled upward to a place of high-volume, perpetually mobile percussion and strings and left there for a bit longer than is normal.” – Frances May Morgan, The Quietus

CONTACT/BOOKING: