Unlimited is a bold statement from FLOW, the a cappella band from a music academy in Aachen, Germany. These eight tracks deliver on that promise, in some surprising ways. First, there are the crowd-pleasers, Maniac, Ain't Nobody, and Living for the City. They're fine. I bet they sounded good at the concert. These recordings are not worth transatlantic shipping, maybe not even the virtual equivalent.

But Mama. That's a good cover. FLOW kicks it into another gear for this track, number six if you're listening in order. Gábor Fehér, the main arranger, brings a suitably creepy setting and the FLOW singers bring the goods. While many of the other numbers are show choir candy, this track grabs your ears and turns everything up. Sadly, it's followed by Skate, a lackluster cover of a Silk Sonic number that already feels like the theme from a 1980s sitcom. Fortunately the album bounces back with Under Pressure, featuring a fun Hannu Lepola arrangement and rounding out the set on a high note.

Höher is the other good track, and it should be, since it's a collaboration with the song's original artist. Here FLOW teams up with Nico Gomez, a veteran of Germany's television talent show scene who's been singing in public since he was six and growing up next door in Cologne. Gomez provides the lead vocals while FLOW interprets the chorus backing from other recordings as well as an a cappella rhythm section in lieu of accompanying instruments. It's a nice song, sung well. I'm not sure why they didn't put it first on the album, except maybe they didn't want to lead with an outlier.

As a school-based group, it makes sense that FLOW would see a lot of singer turnover and offer different sounds over the years. In general, the current ensemble seems to struggle with its tuning and only rarely reaches the kind of tight jazz choir sound that I think they were going for. Spotify served up Mother and Child Reunion from the group's 2020 album, which has a better soloist, shinier production and more ambitious vocal percussion. Still, Unlimited works hard with what it has. As long as this group is willing to keep taking chances, it's bound to keep making good songs.

What's the right way to record a rhythmic choir? Americans have largely answered with a full embrace of studio wizardry. Every note autotuned. Nothing too extreme. If the studio can do it, and the origin of the noise was a voice, it's fair game. And of course, with blend and intonation in the hands of the mixer, it's all about putting spectacular, riff-tastic leads in the spotlight. But that's not the only approach.

Europe has largely leaned towards a more naturalistic sound. Rhythmic choirs there are built on hard-earned blend and tight, creative chords over close mic-ed bass and dutiful vocal percussion. Leads are welcome but optional; sections-as-leads are just as viable a choice.

FLOW is a youth choir of about 30, based in the city of Aachen. They are firmly in the latter camp, and knocking it out of the park.

Under the direction of Luc Nelissen, long time baritone/vp for Dutch a cappella group, Rock4, FLOW is a purist's delight. The choir is just slightly jazzy, unadorned, musically nostalgic (most of the songs are around 40 years old), and energetically youthful. They're loose, yet accurate. The recording is warm, clear, and full with barely a noticeable studio enhancement. They feel real.

Gábor Fehér arranges seven of the eight tracks and mixes and masters all of them, while Nelissen directs and provides vocal percussion on the entire album. Both are invaluable to making FLOW sound just right.

The album features a mere three solos, all of whom rise to the occasion, drawing listeners in and delivering the goods. Höher, in particular, shines brightly. Nico Gomez brings the perfect amount of raw power and emotional edge while Finja Bernau soars above. It is in fact the contrast between the leads and the choir itself that sets this track as one of Unlimited's best.

Kamilla Leines gets her solo in Ain't Nobody and breathes some much needed 21st century life into this easy, jazzy version of the 1983 release. Her shining moments come in the tiniest of phrasing choices and the peek of lilting vibrato at the end of her lines. She wisely avoids going punch for punch with the legendary Chaka Khan; she doesn't need to.

Other standouts include Phil Colins' Mama (also covered by Rock4) and Queen's Under Pressure.

FLOW doesn't break too many rules, nor does the group push the limits of the genre. But the singers capture just enough youthful energy to make the mid-life nostalgic journey that is Unlimited feel refreshed, fun, and worth the listen.

FLOW is the a cappella choir of the Aachen Music School in Aachen, Germany. Just a quick look at this group's website shows something that almost feels unique about this group: it's large. Many groups that come across my speakers are approximately 12-18 members in size. This group appears to have nearly 30 members. Having an ensemble of this size changes the approach. The music is less individually technical, and more focused on good choral technique and fun. It's a refreshing change of pace and very effective, even if the ratings don't always reflect it.

In the opening seconds of Maniac, we can see just how FLOW is going to be a little different. For one, there's no designated soloist. This isn't always the case across the album, but at least here we can see that it's a group singing the melody. The other parts are relatively simple, but they work well together. This album sounds live, where all members are recorded simultaneously on a handful of microphones. However, the group has a really strong and cohesive sound. The chords are locking quickly and the group works well as a unit.

In the middle of the album, Höher is a gorgeous hidden gem for this release. This piece is an original composition by Nico Gomez, who is one of the two soloists. This piece gorgeously ebbs and flows. The leads, Gomez and Finja Bernau, work incredibly well together, telling the story of the song. The backgrounds are full of so many rich and colorful chords. This is the only piece that is in the group's native German, but somehow I still have a decent understanding of the meaning without looking up a single lyric. Music is a universal language, letting us share our emotions regardless of the words spoken. Höher does this wonderfully.

If there's one major flaw with Unlimited, it's that the songs have a tendency to become repetitive. Under Pressure has this problem come up a lot. The verse mimics the original David Bowie and Freddie Mercury piece and keeps the iconic bass line, so it's impossible to avoid the feeling of repetition without removing that constant line. More than that, the first two choruses sound nearly identical. And the last challenge is the bridge. The bridge follows the same rhythmic pattern, even as the notes change. I want just a little bit more rhythmic variation, perhaps something that will keep my interest past simply hearing a cover of a song I enjoy.

Even with the negatives, this album is fun. This album is less polished than others I have reviewed, however, the musicianship is apparent. This group is taking a small group style and sound and making it apply for a group that is significantly larger. It's done without sacrificing any of the fundamentals that make music important, such as tuning and group blend. I imagine as this group continues to grow and evolve its craft, the results will get even better. Keep this as a snapshot of today and an indication of where FLOW will go.