Flwr Chyld — Flow

In the 1990s, Atlanta was arguably the most diverse musical city in the country. Their influence in rap, sparked by Outkast, coincided with its fast-growing R&B scene. Groups like Xscape, TLC, and 112 gave the city a rich balance of genres that would last for decades.

Today, Atlanta’s range of sounds is considerably smaller. Their pioneering of trap music has made it the hub of rap but left little room for other genres. Operating between today’s trends and the traditions of yesterday is Flwr Chyld. The Atlanta-based composer and songwriter first caught my attention with his 2019 EP, Iridescent Luv, a project that showcases his ability to tap into any genre.

Last month, he released another EP, Flow, that finds him at his best blending smooth melodies with equally enticing beats. Flwr Chyld and I recently talked about his unique upbringing in music, his collaborations with other artists, and the musical history of Atlanta.

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Noah Lyons: Was it hard to make the EP given the pandemic and the social justice protests, especially in your hometown of Atlanta?

Flwr Chyld: I was kind of nervous about putting new music out. A lot is going on right now. Once the protests started, music was at a standstill. Black bodies are way more important than anything I have going on. I tried to use my platform to let people know what was going on.

After that, I started working on music more. It was hard at first because I wasn’t motivated or inspired. Towards mid-June, I started wrapping up production for the project. Everything came together over the next month and a half.

NL: I discovered that you played in the band in college. How did that experience influence your sound?

FC: I have got to give props to my Dad, he’s a band director. Being in Atlanta, marching band culture is really big. I was exposed to that early on. I started playing trombone at 11 and began taking lessons in high school. That got me a scholarship at the Georgia State School of Music.

Jazz band is where I took the next step. I picked everyone’s brains and built some great relationships. That is also when I got heavy into playing the keys. I played the keyboard a little coming up, but I didn’t know shit. They gave me the sauce, I took it and ran with it. They were always happy to help me anytime I had questions. All that played a part in my development as an artist and musician.

NL: One of my favorite tracks on the EP is “AuraBlu.” You and Elujay’s styles seem so aligned. How did that track come together?

FC: I made the track last July. I finished the beat and knew I had something. Elujay and I talked about doing some work together for some time but never got around to it. Once I finished the beat, I knew who I wanted to put on it. What’s crazy is that Mia Gladstone and I opened for Elujay on his tour in different cities. That’s how we connected.

Structurally, Mia was supposed to have the first verse and the hook. Elujay ended up recording in the same spot she did. Once I heard it, I liked his verse better to start. Mia becomes the x-factor on the track later on. They make somewhat similar music but gave the song two different feels. They really executed my vision for it.

NL: The other track that jumped out to me was “Walking Away.” Emmavie has such a distinct and powerful voice. What was it like working with her?

FC: I always check my related artists on Spotify because I am a music fan first. That is where I first saw her name but never got around to listening to her.

As an artist, I’ll go to sleep, wake up, check my notifications, and see someone new tap into my music. One day I checked Twitter and had over 20 notifications. It was Emmavie saying she discovered my music and thought it was dope. After that, I told myself we have to do a song together! I’m normally not like that but working with her made too much sense. After we got in contact, I sent her the song around the end of 2019. She sent it back to me and spazzed. I put a lot into the production of that track. I had it on the shelf and finished it five months before I sent it to her.

NL: On “AuraBlu” and “But I Tried”, you have bassline that are rich and compliment your drums. The bassline stood out on the project, is there a special focus you put into them when composing?

FC: My Dad used to bully me when I first started producing. He would be like, “you ain’t got no bassline, where’s the bassline?” He came up during the 80s and 90s where you needed that funky bassline. His bullying me, in a good way, made me much better.

It was a combination of that and diving into funk music over the last four years. If you do it enough, you eventually get better. I love to put the focus on the bassline because that is what drives the song. In jazz band, I learned that the upright bass has to stay on top of the beat and never lag. Using that helped me make sure the bassline popped and were always groovy. People might not hear the lyrics or chords to a song, but if they hear the bassline they’ll like it.

NL: Since the project is mostly collaborations, how does the lyrical process work? Do you have melodies going in, or do you defer to the artist?

FC: It is a combination. If I wanted to, I could put out a non-cohesive body of work and tell artists to write whatever. On Iridescent Luv, I was more hands-on in terms of the writing process. I wrote the hook for “Cocoa” and helped out with the melodies for “Mellow Drama.” I try to do as much as I can outside of production. That allows me to create a project that resonates with who I am. I tried to do that with this project too.

I’m big on adding harmonies in certain parts. Sometimes I’ll ask artists if they can add a harmony, I’ll sing it to them, and they will record it right on the spot. I’ll do whatever needs to be done in the creative process. It all depends on what the song needs. I try to take a back seat because I am more focused on the entire arrangement.

NL: The musical history of Atlanta is so rich but largely gets praise for only trap music. How does it feel to have a sound that runs against the trend of the city?

FC: You would honestly be surprised. Two years ago, I felt there were not many people who were making shit that didn’t sound like it was influenced by Atlanta. I’m influenced by Atlanta in a lot of different ways. It may not come out through my music, but my overall artistry. I’ll work with Atlanta creatives who are bringing their flair into my world. We all have this collective consciousness.

For a while, Atlanta was not in my top markets on Spotify. I had to shift my focus early on. When I did that, I branched out into other places. I don’t need to commit my sound to just Atlanta. The indie world is really small. Whether New York, LA, or London, we all know each other. I’m grateful to be a part of that community because it’s not confined to just Atlanta.

NL: Besides listen to Flow, what should people be on the lookout for? Any projects, collaborations, or features we should be aware of?

FC: First and foremost, listen to Flow every day! I do have quite a few collaborations in the works with artists that you’ve heard me do stuff with before and others you haven’t. I’ve been trying to do some genre-bending things lately, hopefully, you’ll get that this year or early next. Elujay’s album is fire, that’s all I’m going to say. I’m grateful that he brought me along to help with it.