London, 2026

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Flautando is the second collaborative project between Marc Findon and Andy Findon released on NOOX, following Sanctuary:Fujara in 2025. Marc, the composer, and Andy, the performer — who also happens to be Marc’s father — once again come together in a creative partnership where composition and interpretation feel inseparable. Marc plants the original musical ideas, while Andy brings them to life through performance, shaping the sound world of the project with remarkable precision and sensitivity.

 

What makes Flautando particularly fascinating is not only the music itself, but the concept behind it. At the centre of the work lies a flute choir, recorded entirely acoustically through multi-tracking and carefully designed spatial placement. Yet the intention reaches far beyond traditional ensemble writing. The project explores the idea of transforming acoustic instruments into something almost electronic through composition, arrangement and recording techniques alone — without relying on digital effects or synthetic processing.

One of the most striking aspects of Flautando is precisely this reversal of process. Early electronic music originally attempted to imitate and manipulate characteristics already present in acoustic sound: echoes, delays, resonance and spatial depth. Here, Findon works in the opposite direction, recreating the textures and atmospheres associated with electronic music entirely through acoustic means. Delays appear through overlapping entries, echoes through placement and repetition, and evolving soundscapes through layered flutes interacting with one another. The result is often surprising; at times, it becomes difficult to believe that everything heard originates solely from flutes and breath.

The spatial dimension of the project also plays a central role in its identity. The positioning of the musicians creates a sense of movement and immersion, surrounding the listener rather than placing them at a distance from the music. This effect becomes even more evocative in live performance, where the audience is not simply observing the work but placed inside it. Sound circulates around the listener, melodies pass from one side of the ensemble to the other, and continuous pulses seem to expand beyond the limits of the recording itself. There is a physicality to the listening experience that recalls installation art as much as traditional concert music.

As the work unfolds, another fascinating quality emerges: the flute choir gradually begins to resemble an entirely different instrument. At times the ensemble takes on an organ-like quality, with sustained harmonies and layered textures growing denser and more expansive as the music progresses. This transformation is clearly intentional. Rather than using electronics to imitate acoustic instruments, Findon uses acoustic instruments to “fake” electronic and synthetic textures through compositional craft alone. It is an approach that feels both playful and deeply inventive.

 

Despite its conceptual foundation, Flautando never feels overly intellectual or detached. There is warmth in the sound, and a strong sense of curiosity driving the music forward. The project sits comfortably between contemporary classical, ambient and experimental electronic aesthetics, while remaining grounded in the expressive possibilities of live performance. What could easily have become a purely technical exercise instead becomes a genuinely immersive listening experience.

If the initial inspiration behind Flautando lies in recreating the textures and sonic worlds of early electronic music, the final result stands entirely on its own. It is a work that explores sound creation from an original angle, blending genres, techniques and listening experiences with elegance and imagination. More importantly, it demonstrates how traditional instruments can still reveal entirely new possibilities when approached with the mindset not only of a composer, but almost of a producer and sound designer.