Flume DiscographyĪ subreddit dedicated to Flume (Harley Streten), an electronic music producer from Manly, Sydney, Australia. Any accounts that attempt to circumvent the ban will be banned on the spot with no warning. If a user is attempting to sell for over face-value they will be banned on the spot with no warning and not be welcome back to this community ever again. Rule 4: ABSOLUTELY NO TICKETS TO BE SOLD ABOVE FACE VALUEĪny tickets to shows or festivals that are sold through this sub must be sold for face-value or cheaper. Assume you broke the rule if your post is deleted. Mod team does not have to warn you before deleting your post. Remixes of Flume songs are only allowed if they are clearly labeled so in the source. There are specific music communities for you to post and get proper feedback on. Rule 3: Self-Promotionīlatant self-promotion is not allowed. You will not be warned before a post is deleted. Posting questions that have been asked many times beforeĪgain, this is up to the interpretation by the moderation team. You may not be given a warning if in clear violation of this rule. This rule is up to the interpretation by the moderation team. But maybe it’s the sound of floodgates opening.Stay civil when discussing everything including topics that you do not agree with. It’s short and snappy, gone too fast in an album that could’ve been streamlined to let moments like it shine. But there is one glimpse of intriguing extroversion in Flume’s standalones: “Wall Fuck,” the musician’s aforementioned attempt to rip the universe a new one, which delivers a hell of a rubbery, electrohouse-inflected bass and snarls a sliver of ghostly female coos into a strange, invigorating banger. Skin’s other cameos don’t approach that humanity: Little Dragon’s “Take a Chance” buckles under an erratic beat that feels determined to remix itself twice over, and Tove Lo’s lilt sounds harried on “ Say It,” though her chorus does generously provide your next Tinder icebreaker (“let me fuck you right back”).Īgainst this, the instrumentals can be hesitant, as if waiting patiently for a vocalist to drop by-“Pika” stretches out a fragment of a SBTRKT-like soul murmur, and “Free” pushes the repetitive yet determined synth runs of a keytar gained sentience. The delicate ebb that follows it-complete with falsetto from Beck, naturally-is the most vulnerable moment of the album. There’s one betrayal of Flume’s busy hand in the song, in a dubstep-lite drop halfway, but it’s energizing. Here, the production is as nimble as the vocalist Beck opens in staccato leaps, chipper despite the Sea Change-like refrain of despondency (“it was never perfect, never meant to last”), and Flume loops him in a slow, roiling momentum until the sentiment blooms into a battle-scarred catharsis worthy of a John Hughes soundtrack. Snuck in at the close, “ Tiny Cities,” featuring Beck, is comparatively minimalist, a welcome smattering of downtempo new wave synths. There’s a mathematical quality to how he deploys singers in these productions, where the heavier his low-end distortion throbs, the more featherweight smoke curls follow. (“I’m only human can’t you see/I made, I made a mistake/Please just look me in my face/Tell me everything’s OK”). The lead single, “Never Be Like You,” is already a Disclosure-remixed pop hit (and a winking psychotropic video) it saunters on Flume’s languid trap drops and a plummy R&B hook from the Canadian singer Kai, a former Jack Ü collaborator who trills a mundane mea culpa with a gleam of defiance. The halting, futurist beat of Kučka’s solo track (“Numb & Getting Colder”) nods to Flying Lotus and Four Tet that core is closely repeated on her second turn, “Smoke & Retribution,” which jolts awake in agile verses by rapper Vince Staples. Here, it’s handled twofold by Aluna Francis of AlunaGeorge (the groggy, glitchy “Innocence”) and also Kučka, a young Aussie singer who distinctly echoes Francis in slinky R&B phrasing and tinny topnotes. On his first album, that role was played by Jezzabell Doran on the album’s best cut (“Sleepless”). The sum suggests that he’s an earnest collaborator, flashier but still casting around for a distinct identity.įlume has a fondness for female voices singing in their upper register. Here, Flume recruits an array of famous guests (Beck, Little Dragon, Vince Staples, Raekwon, AlunaGeorge), padding their radio-friendly cuts with the persistent crescendos of his self-titled debut, then ballasting them with loose instrumental interludes. It’s a stadium-sized upsell of Flume’s prior atmospheric formula-skittish beats that cleave easily to gruff rappers and R&B sopranos alike, rattling future-bass warp, undulating synths-that swells with energy but spills over edges. Skin, the record in question, aims for that level of grandiosity throughout.
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