Upupayāma share new single 'Fliiim', the second to be lifted from incoming LP 'Honesty Flowers'
Upupayāma are today releasing ‘Fliiim’, the second single to be lifted from their incoming ‘Honesty Flowers’ double album following its recent announce with the KEXP-premiered lead single ‘Mystic Chords of Memory’.
Due for release May 29th 2026 on Fuzz Club, ‘Honesty Flowers’ is the fourth studio album from Italian multi-instrumentalist Alessio Ferrari under the Upupayāma moniker. An epic double album set, it finds Upupayāma's ever mind-blowing brew of organic psychedelic rock meets global grooves at its most percussive, lively and distorted. Equally hedonistic and heady, it courses through rhythmic funk grooves, doubled-down scorched fuzz riffing, winding motorik jams, tranquil drones and pastoral acid-folk across its seventy minute run time.
On the new cut ‘Fliiim’, one half of the 11+ minute album opener ‘Fliiim / Laliīmph’ (streaming in full on Bandcamp only until the album’s wider release), Ferrari says: “I think of 'Fliiim' and experience it as if Can had wanted to write a funk song, while 'Laliī mph' continues the whole thing, taking us to a Mongolian prairie on horseback towards an unknown destination, like a flâneur of the steppe.”
A six-piece band live, where things take a more ever-evolving improvisation-based approach (see their recent 'Live At Fuzz Club Festival '25' LP), on the recordings Ferrari writes, plays and records everything himself – guitars, keys, flute, sitar, and an arsenal of percussion all feature. Never not working on new music, Ferrari started laying down these new tracks in his home barn studio in a small mountain village overlooking the city of Parma before its 2024 predecessor 'Mount Elephant' even hit the racks. The result was mixed by Chris Smith at Kluster Sounds (Kikagaku Moyo, Wax Machine) and mastered by Joseph Carra (King Gizzard, Babe Rainbow, ORB)
On the new album, Ferrari says: "Honesty Flowers was born from listening to lots of funk music from all over the world, lots and lots of African music, and from listening to myself as I spent whole nights playing all kinds of percussion instruments. I would fall into a sort of trance and play the same rhythm for hours on congas or on a djembe. It's an album that was born above all from the beauty of being able to narrate the unknown and recognise yourself in it, which could translate into telling stories and bringing them to life.”
