FloFilz and Germany’s Appreciation for Jazz Hop

It’s nice to see Germany inspired by the Hip-Hop and Jazz scenes of the past. It seems that the creative German producers know how to hit the sweet spot of methodical Hip-Hop rhythms and sweet, resonating Jazz samples. Germany coined historical significance in the initiation of Jazz music.

When Jazz dancer Josephine Baker visited Berlin in 1925, she claimed to have been awe-inspired by the dazzling spectacle of the German capital. This claim subtly corresponds with the stapled imagery of the 1920’s Jazz Age, with its American tales of phosphorescent city lights, obsession with alcohol and lust, and the idle lifestyles caged in the circle of urban grit.

In 1939, a German immigrant by the name of Alfred Loin and his business affiliate discovered one of the more prestigious Jazz labels of the genre’s history, Blue Note Records. The record label is home to some of the most prodigious icons of the genre’s evolution, such as Miles Davis, Bobbi Humphrey, and Donald Byrd.

The German ear understands the flavorful titillation that both Jazz and Hip-Hop has enticed for the western listener. In the modern era, the German producer is doing just that. With the likes of established artists such as Wun Two and Figub Brazlevic, FloFilz has been hovering over the movement for the past couple of years now.

FloFilz has boldly displayed his hometown of Aachen, Germany on his Bandcamp page. Along with his brief outlook in his personal life is the amalgamation of home-cooked EPs and collaborations. Where Brazlevic emphasizes the use of the snares and drums and Wun Two utilizes his love for the vinyl skip, FloFilz focuses on smooth tonality.

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He places a proportionate accordance between the smooth noise of Jazz and the dropping rhythm of Hip-Hop drums. As usual, Instrumental Hip-Hop shines a light on every essential element that conducts the whole piece. Every snare counts just as much as the sample itself.

Flofilz perfects this accordance. As every portion of the track is apparent, the cohesion of these portions is nonetheless impervious.

Cenário is a personal favorite from his discography.  The first track, “Intro Azul”, which features the voluptuous voice of Olivia Wendlandt, is a pure tribute to the serenity of the cohesion. Wendlandt’s voice acts as an instrument itself, undulating along the whirling chords and stepping drum pattern.


Following the first track is the chronology of his technique. The following tracks are inspired by the different eras of Jazz music. Along with the sound of Bebop that adds to the project’s sedating quality, FloFilz seems to collect the sounds from Bossa Nova.

“Ruamarelo” dedicates his predilection for the Bossa Vova sound, which contains the obvious vocal and flute samples inspired by subgenre. As FloFilz redeems his appreciation for international sound, he also pays tribute to his western influences.

A personal favorite of the album is “Brillhante (Interlude)”. Although only lasting around a minute and a half, the interlude delves deep into the tranquil drums that Hip-Hop is capable of producing, along with a piano sample which rides along with perfect partnering.

As the Jazz-Hop movement continues, so will the artists’ inspiration for their craftsmanship. As the genre accrues popularity, so has Germany’s reign for the movement’s fore fronting image. As long as the genre exists, so will the young architects of Germany and the rest of the world.

FloFilz, along with the other aforementioned artists, can forever establish themselves as pure pioneers of the gorgeous movement.

Listen to Metronom and Cenário below via Bandcamp, and don’t forget to support the music!

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