Or when Chet Faker delivers his stellar vocal turn on “Left Alone”, which for me is the best song on the album. Or when the low-key synths that drive the first half of “Insane” explode into hypnotic swirls of sound. It’s easy to picture Flume smiling from ear to ear when the “Hip-shakin’ momma I love you” vocal sample lands against the beat just right in the track “Holdin’ On”. But there’s a sense of joy in these songs that isn’t always present in electronic music. in February of 2013.) That’s not to say that the album sounds sloppy or unfinished - Flume actually demonstrates considerable skill at building polished, unified tracks out of disparate sonic elements. Real or not, the story fits, because there’s a youthful (and charming) off-handedness to Flume, the debut full-length that got critics across the globe raving when it came out overseas last fall. That’s a nice deal for people interested in checking out one of the young rising stars in electronic music.Īs the possibly too-good-to-be-true story goes, Flume, now in his early 20s, started crafting electronic music after finding a production program inside a box of cereal. as an expensive import, but all the music is available in digital form for about $16.
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The full physical package is available in the U.S.
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The reissue expands on the well-received eponymous debut album by Flume, a young electronic-music producer from Australia, with a wealth of new material, including remixes, a concert DVD and a “producer disc” that contains software and the stems to three of Flume’s songs. But what about albums that are just a year old? Can a reissue of something that dropped way back in the heady days of November 2012 be anything other than a sales stunt? In the case of Flume: Deluxe Edition, the answer is yes. When a track lacks those melodies (More Than You Thought, Space Cadet), it becomes a hollow collection of choppy beats.Reissues of albums that came out two or three decades ago often provide fans a way to appreciate the music in a new way by adding history and context. By altering the vocals via pitch shifts, Streton crafts melodies out of samples his strongest musical element. Highlight Holdin On is Flumes exemplary composition: pulsing synths, quivering tempos, and a repeated-till-its-stuck-in-your-head chorus (Hip-shaking momma I love you). Vocal samples often distorted occupy opens spaces in the drum pattern. Although it sounds wonky, Streton never abandons a steady rhythm or backbeat (aka the part that makes people dance). Like Jay Dee, Streton chops up his percussion and splices the fragments back together. The warm reception is deserved, as Streton touts a distinct style of production that owes as much to J Dilla as it does The Avalanches. And now that his debut has finally surfaced in America, Flume has vaulted to No. Last year, Streton under the moniker Flume dethroned One Direction to top the Aussie iTunes charts.
To think that a cereal box would spawn the future of Australias electronic music scene…
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Streton became fascinated with synthetic instruments and graduated from his PC to vintage analogue equipment.
Intrigued, the 13-year-old Streton installed it onto his computer and played around with pre-loaded drum kits and synths, eventually adding his own plug-ins and sample packs. It was a basic Make Your Own Music production program, ala Audacity. Sydney-native Harley Streton opened a cereal box and a CD-ROM fell out.
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