‘Deepest Wellsprings of Being’ by Flourish | Interview | Album Premiere
Ohio’s Flourish has just unleashed ‘Deepest Wellsprings of Being,’ a record that pulls you into a surreal sonic journey, blending 90s shoegaze with the unsettling cinematic vision of David Lynch and the dystopian vibes of Blade Runner.
This album is as atmospheric as it is heavy, filled with guitar textures and synth layers that paint dreamlike landscapes, only to be shattered by post-metal riffs and grunge undertones. Flourish manages to balance the ethereal with the crushingly real, wrapping moments of emotional beauty into a gritty, dystopian soundtrack.
Opening track ‘Waves of Nazare’ rolls in like the massive surf of its namesake, overwhelming with its powerful waves of sound. Then, ‘Heavy Mountains’ hits, transporting you to an epic sonic landscape, evoking the grandeur of Explosions in the Sky or God Is An Astronaut. The album’s first single, ‘The Towpath,’ introduces vocals, adding a new layer to their sound, while ‘New Cosmic Terror’ pushes even further into bold new territory, letting synths take center stage in a strikingly fresh way.
The final trio of tracks on the album weave together a narrative of Midwest life, a musical triptych that showcases Flourish’s ability to communicate deeply without words. Flourish has honed their craft as an instrumental post-rock band, but with ‘Deepest Wellsprings of Being,’ the addition of vocals takes their sound to new heights. This is a band ready to break out of Ohio’s rich shoegaze scene and step onto the world stage.
The album is set to be released on September 27th, 2024, on LP and digital via Lost Future Records, enjoy it exclusively on It’s Psychedelic Baby! Magazine.
“We try not to be constrained to one sound or idea”
Can you take us back to the origins of Flourish? What inspired you to form the band, and how did the initial lineup come together?
Marcus: I originally created Flourish as a project to practice mixing and songwriting, and it quickly became an emotional outlet as well. It was the first music I had ever fully written by myself, and when I released it, the response was much more positive than I expected. A friend of mine offered me a spot on a local show, so I figured I’d find some people to play a one-off gig with me. Harley and I were in a different band at the time, and Rogan and Kameron were some of the people who told me they liked the album. They were the first people I asked to play, and luckily enough, it worked out.
Your sound has evolved significantly since your early days. How did your musical direction shift over time, and what key moments or influences contributed to that evolution?
Marcus: The biggest influence on the change in sound was that, as soon as we decided to be a band, we made it fully collaborative. With that comes three other people’s personal influences and ideas for what the music could sound like. We all want to make music that’s not only fun but also the best we can write together. One of my favorite parts of making music with these guys is being constructive and challenging each other to play better and keep moving forward.
Your new album, ‘Deepest Wellsprings of Being,’ blends 90s shoegaze with cinematic and dystopian elements. Can you discuss the specific influences behind this fusion of styles? How do films like David Lynch’s works or the aesthetics of Blade Runner shape your music?
Harley: Since it became a collaborative effort, all of our influences have affected the sound and ideas. We try not to be constrained to one sound or idea, and we like to keep our music open to interpretation. Movies and shows like Blade Runner and Twin Peaks inspire us to be more open-ended and let the art speak for itself.
Who are some of your primary musical influences, both within and outside the shoegaze and post-metal genres, and how have they impacted your songwriting and sound?
Harley: Our influences come from anywhere, from Snarky Puppy and Godspeed You! Black Emperor to Grateful Dead and Bolt Thrower. We all like a lot of different things, and we pull from all over the place.
The recording process for this album took place at Matt Talbot’s Earth Analog studio. How did the choice of studio and producer influence the final sound of the album?
Harley: We wanted to work with Zac Montez, who has done some of our favorite records, and he happened to be working out of Earth Analog. His experience with our style of music helped shape the sound immensely. We feel like he did a great job capturing the record as well as mixing it.
Tracks like ‘New Cosmic Terror’ incorporate synthesizers in a prominent way. What inspired this shift in your sound, and how does it fit into the overall narrative of the album?
Marcus: I’ve used synths in Flourish since the start. Most of the time, it was textural, but for this new record, I just experimented with more ideas that popped into my head. The synths in New Cosmic Terror were unintentional at first. I made an editing error while writing demos, and the synth mistakenly played something that I ended up using for the song.
Can you describe the lyrical themes and concepts explored in the album, especially in the context of the new vocal dimension?
Marcus: We knew going into the writing of this album that we wanted to push ourselves, not only lyrically but vocally as well. We spent a lot of nights writing lyrics and melodies together. We ended up writing lyrics that told stories inspired by a variety of things we were all influenced by. I personally enjoy exploring different emotions through lyrics while also telling stories.
How does the album’s cinematic and complex sound translate into your live performances? Are there any particular challenges or highlights you anticipate when performing this material live?
Marcus: The easiest part of translating these songs live is that we all tracked with the gear we use live, or we wrote with the intention of being able to play it live. We like keeping the band as real as we can, whether in the studio or live. That being said, sometimes it’s difficult to implement new ideas in a live setting. We try not to cut corners and keep it real, which is a challenge, but I think it’s worth it.
Looking ahead, what are your plans for promoting ‘Deepest Wellsprings of Being?’
Harley: We have a record release show in Cleveland, Ohio, on October 18th at The Brothers Lounge (11609 Detroit Ave, Cleveland, Ohio. Doors at 8, $10). Lost Future Records is also helping us with the release and promotion.
Can you share some insights into the gear and equipment that are crucial to your sound?
Marcus: The most important part of Rogan’s and my guitar tones is how we try to complement each other’s tones to create more dynamic layers. The loud amps are essential as well.
Harley: I intentionally use cymbals that have a lot of sustain. I like my toms boomy, and my kick punchy.
What’s next for you?
Marcus: We’ve already been writing more music. We hope to branch out to new audiences and play in new cities.
And what are you currently spinning on the turntable?
Marcus: Glacier’s new record ‘A Distant, Violent Shudder’ has been my current obsession.
Harley: Amon Tobin’s ‘Nomark Selects Vol. 1.’
Klemen Breznikar
Flourish Official Website / Facebook / Instagram / Bandcamp / YouTube
Lost Future Records Official Website / Facebook / Instagram / YouTube
