flower corsano duo



Formed in 2005, the duo melds the propane-lit, overdriven drone-ragas of MICHAEL FLOWER (Vibracathedral Orchestra, MV & EE, Sunburned Hand of the Man)’s electrified shahi baaja and the melodically kinetic and free drumming of CHRIS CORSANO (Paul Flaherty, Joe McPhee, Rangda, Bjork). In the years since their debut album The Radiant Mirror (Textile, 2007), they have toured and recorded frequently, expanding their range to include a mind-boggling array of free sound with seamless shifts between tumultuous intensity and blissed-out serenity.


rm un 4 choc
you'll scheldapen count

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)

titles available for sale through cor-sano.com

Excerpt from 85% Pure from Chocolate Cities
Another? I Couldn't Possibly from Chocolate Cities

Excerpt from The Main Ingredient from The Four Aims
More mp3s from the double LP, The Four Aims, at VHF's website

Excerpt from First Strike from You'll Never Work in This Town Again
Excerpt from Second Strike from You'll Never Work in This Town Again


flower corsano photos
“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