Enter FLANCH, Peter Timberlake and Ben Peterson’s music and visual project. The sixth release on Darling Records, FLANCH is an ambitious project to say the least. It took risks to create something that could stand alone as unique.
These risks were certainly worth taking.
Topically, FLANCH is rooted in stressing confusion brought as a byproduct of social changes; moreover, there is a strong emphasis on how this impacts the individual at a multitude of levels. Primarily the focus seems to be on the conflicting nature of losing ones religion after being deeply entrenched in its values. There’s also an apparent battle between the diminishing religiosity and an active lust for hedonistic pleasures (relative to the previously rooted religious values) in the individual.
No discretion, and no protection,
Just hold your breath and hope for death,
Before the soul’s possession.
It should also be noted that this intersection of belief and non-belief is quite personal. Peter Timberlake, the main producer behind FLANCH, was a devout Christian for many years before entering his currently faithlessness. Though the vocals were provided by a plethora of artists, Timberlake’s message and vision was not lost.
To add to the thematic richness of this album, blurring lines between the offline and online worlds are also explored. FLANCH observes how the internet as a creation has completely changed the way we live and the way that interpersonal connections are made; however, there is also an awareness that it’s far easier to be allured by smoke and mirrors. When exploring these places it’s not in a negative tone, but rather caution towards something not fully understood.
I met you online, and I like your pictures,
But I don’t know if you’re a real person,
Don’t play with my heart anymore.
While these thematic elements are quite expansive, they do not get lost within each other. FLANCH does an amazing job at finding balance by blending elements together. The end result was a spectacularly cohesive album. FLANCH is the type of album that will warrant more than a single listen to digest everything that is happening at once. Fortunately the music is absolutely addictive.
The production on FLANCH is really quite magnificently terrifying. The futuristic and experimental nature of the instrumentation leads to some beautifully off-kilter moments. Fitting of the topics at hand, FLANCH sounds audibly anxious, lost, and haunting. At times the production feels near other worldly, like the alien offspring of electropop and experimental glitch-hop.
The vocals, provided by an array of guest artists, were also quite interesting in the overall picture of this album. Vocal performances playing off of the religious themes felt suitably larger than life. At times the vocals stepped away from the human and were edited to feel genderless, synthetic, and mostly robotic. The sonic dichotomy was utilized creatively, with vocals placed together in a way that played amazingly well into the topic of on-and-offline worlds melding.
It should be mentioned that the singers and emcees on this project really helped make it special. It feels like their talent could be easily lost in everything else that was going on with this album, so it felt important to give them their credit as well. FLANCH seemed to be as much a collaborative project as it was a debut for FLANCH as an outfit.
FLANCH packs an insurmountably thick sounds into a short listen. The music is out of left field, wondrous, and emotional. The album is thematically engaging, and challenging enough to keep the listener coming back for more. Admittedly it might not click for everyone, nor does it seem like it’s supposed to; however, what FLANCH has delivered may hold up as one of the most creative, outside-the-box projects of the year.