![]() ![]() His 2016 sophomore set, Skin, featured collaborations with AlunaGeorge, Little Dragon, Vic Mensa, and Beck. Streten spent the next couple of years touring and released the single "Some Minds," a collaboration with Miike Snow's Andrew Wyatt, in 2015. ![]() Several ARIA Awards - including Producer of the Year, Breakthrough Artist, and Best Dance Release - were handed to him the next month. The same month, he released his and Faker's collaborative Lockjaw EP and toured the U.S. A deluxe edition of the debut followed in November 2013 with cred-enhancing contributions from Ghostface Killah, Boldy James, M.O.P., and Killer Mike. In his homeland, it topped the ARIA album chart and went double platinum in the U.S. Several years later, he won a competition held by Future Classic and subsequently signed with the label to release a 2011 EP featuring the track "Sleepless." The following year, Flume delivered his debut self-titled solo album, which featured guest appearances from Chet Faker, Jezzabell Doran, and Moon Holiday, among others. He rounded up previously unreleased tracks on the 2023 mixtape Things Don't Always Go the Way You Plan.īorn in Australia, Streten began producing his own music in his early teens. dance charts with hit collaborations with London Grammar ("Let You Know"), Vera Blue ("Rushing Back"), and Toro y Moi ("The Difference") before returning with his third long-player, 2022's Palaces, which included the Aussie Top 20 hit "Say Nothing" featuring May-A. Flume maintained a presence on the Australian singles and U.S. ![]() Recruiting collaborators from across genres, he rose into the main-stage ranks with his 2012 debut and his Grammy-winning 2016 sophomore effort, Skin, both of which topped the album chart in his native Australia. But malleability is only really powerful when it's accompanied by memorability, and the latter remains out of reach for Flume.The alias of electronic musician and producer Harley Edward Streten, Flume makes atmospheric dance music inspired by house and U.K. Flume doesn't want to be pinned down, and he's intent on proving his ability to make functional music for multiple scenarios. Though Moses Sumney's presence only registers as the song begins to wind down, his soothing tone is enough to summon the floating, comatose feeling. The most promising tune on the EP is “Weekend,” a reverie with extended beat-less portions. “Fantastic,” a collaboration with Dave Bayley of Glass Animals, is a colorless mid-tempo number with a clomping drum pattern designed to make heads bob. “Depth Charge” will do fine as a bridge towards the more peaceful side of a live set. The rest of Skin Companion II veers away from the rough stuff to return to the modes Flume explored on his first album. The central riffs of the two tracks are similar, as are the liquidating blots of bass and the drum breaks that “Uzi”-producer Charlie Heat also inserted into Kanye West's “All Day.” “Enough” never surges beyond emulation, any abrasiveness blunted by the feeling that this is an academic beat-making exercise. But the song plays as an attempt to redo Lil Uzi Vert's “Uzi” and extract the magic from its alluring rumble. He leads with an uppercut, a track that's supposed to slug its way into your subconscious: “Enough” features rapping from the stolid veteran Pusha T, and the beat shovels a stream of noises-hollow wood tones, staticky crumbles-at the listener to stimulate a fight-or-flight response. He spoke of “mak experimental music accessible” and “fus the abrasive and the beautiful,” but seemed to sell both sides short.įlume patrols the same liminal zone on Skin Companion EP II. He enlisted singers-Beck, Tove Lo-to create pop songs that were neither sugary nor off-kilter. Flume worked with rappers on the declarative, bruising end of the spectrum-Vic Mensa, Vince Staples-but didn't make the kind of songs that really knocked you on your ass. His second full-length, Skin, released four years later, set aside big-room lullabies to emphasize big-name collaborations, but there was a reticent quality to it. Flume's 2012 self-titled debut, an oasis of lite house and loungeable hip-hop, offered refuge from the fusillade of trap beats sweeping through electronic music at the time. His songs can be easy to fall into, but they don't usually lasso listeners and ensnare them like an undeniable airwave triumph. ![]() The Australian producer Flume (born Harley Edward Streten), built his career on a different type of accessibility. ![]()
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