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When Flowchart debuted with 1995's Multi-Personality Tabletop Vacation (Carrot Top), the Philadelphia group was equally derided/lauded for its striking similarities to space pop veterans <a href="spotify:artist:3Rj0tDHoX7C5NFq5DKIpHt">Stereolab</a> and <a href="spotify:artist:2CqEOngQOOMstJupNn6Hmf">Neu!</a>. Many accused the band of blatant thievery, but there was also a grudging admiration for its detailed and entertaining facsimile. Luckily, Flowchart mastermind Sean O'Neal muted and expanded on his influences after Tabletop, a move which largely evened out the polarized reaction to his work. 1996's Tenjiru EP was a lengthy exploration of clicks and buzzes, while a few other releases (including the memorable Burnt Hair release Hallow Sky) explored four-track drones. For 1997's Cumulus Mood Twang, main O'Neal collaborator Brodie Budd was sacked in favor of Erin Anderson, and the stylistic palette was widened to include references to indie rock and literate dance acts like <a href="spotify:artist:0yNLKJebCb8Aueb54LYya3">New Order</a>. After a detour into the electronic oddity <a href="spotify:artist:1Ryg04gzYOAHSTEfclimNa">Flowtron</a>, Flowchart returned with 1999's Commercial (which featured a co-conspirator in <a href="spotify:artist:438SdshpQiHTlTingkYvc2">HollAnd</a>), moved into experimental techno for 2000's Gee Bee EP, and ended up sounding like a pretty legitimate dance/house project on May 2003's Broken and Blue. That summer, Fuzzy Box released two volumes compiling Flowchart's pre-2000 singles and compilation tracks, as well as Evergreen Noise Is Flexible/Spirit of Kenny G, which combined the two mid-'90s EPs onto one CD. ~ Johnny Loftus, Rovi
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