Sunday Morning Medicine is a feature from Dancing Astronaut dedicated to the mellower side of electronic music. Senior Editor Bella Bagshaw brings you her favorite therapeutic selections—old and new—each week, in attempts to alleviate the agonizing effects of a long weekend of partying.
Let’s begin at the end this Sunday, with the concluding offering, “Spring,” from Flume’s latest mixtape. With help from the eternally strange, Eprom, Flume uses pitched-up vocals and a frenetic, downtempo arrangement, for a resplendent, redolent Sunday soundtrack.
Slow Magic’s take on Manila Killa’s “Wake Up Call” is an echoing, pensive vessel for some Sunday eschewal. Where Manila Killa’s initial offering showcases a sobering groove, Slow Magic’s is one of escapism: a palliative proposition to drift inside a soft blue dream.
Moods takes an already blissed-out Catching Flies cut, “Sunrays” and adds a lulling, looping beat, liable to send listeners into some sunny, sound-induced catharsis.
From RÜFÜS DU SOL’s enduring, sophomore album comes “Brighter,” a song privy to absolving any residual end-of-weekend regrets. Though, nearly any selection from RÜFÜS’s expansive catalog carries some semblance of sunshine.
Now let’s end at the beginning: Flume’s quixotic and vapory “Zimbabwe” rework lives on his first and self-titled album. To spend a Sunday inside Flume’s artistic evolution would surely stave off intrusive work-related thoughts; so, that’s just what Dancing Astronaut is prescribing this week.
“Stagnation” isn’t a word in Flume‘s vocabulary. The prodigious talent had barely turned 21 when he admissibly defined and spoon-fed the contemporary future bass sound to the masses via his debut, self-titled LP. Sure enough, a star was born. He moved on to solidify his position as one of the most groundbreaking and forward-thinking artists of the current generation after collaborations with Nick Murphy (then known as Chet Faker) and Emoh Instead under their omnipresent What So Not alias.
By 2016, he’d become a fully independent entity, dedicating all his time to solo work and treading the line of pop and electronica with finesse in his Grammy award-winning Skin album. He’d set the bar improbably high for himself. But, being the true innovator he is, Flume has managed to finish another revolution around the experimental sun with Hi This Is Flume. Short, but indubitably sweet, the mixtape stands out as perhaps his most idiosyncratic work to date.
Hi This Is Flume is the product of an artist unburdening himself his self-imposed boundaries and surrendering himself to the abstract. It’s a complete change of pace from Skin, which, likely due to its numerous collaborations, strikes a tame, and even formulaic, chord at times despite its cohesive and invariably appealing nature. This body of work feels structure-less—take for example cuts like “Wormhole” and “Dreamtime”—but united all the same. Flume’s enduring love for squelchy, staggered arrangement is the bedrock of the record, with each of its 17 tracks ebbing towards the next, as organically as the tides turn over. We’d gotten a taste of this in the Skin Companion EPs, but the Aussie talent eclipses expectations in this latest undertaking.
Flume’s work alongside Vince Staples and other rappers appears to have influenced the direction of Hi This Is Flume, as well. The mixtape is packed with low-end stunners, like the euphorically unorthodox “Ecdysis” or the resplendent, twinkling “Jewel.” His choice of collaborators this time around also mirrors this irreverence towards convention: the eternally strange EPROM makes his way into the fold on two tracks, one of which was an ethereal rework of SOPHIE’s “Is It Cold In The Water?” Meanwhile, “How To Build A Relationship,” featuring superior lyricism by JPEGMAFIA, arrives as an unearthly melding of warped bass and avant-garde rap.
Awe-inspiring too is the amount of impact Flume manages to squeeze into such a short time span. Most of the productions in Hi This Is Flume are two minutes or less, but are so cleverly engineered, texturized, and intricately layered that they feel as expansive as a piece that clocks in at triple the length. “Voices,” another powerhouse effort crafted with SOPHIE and Skin collaborator KUČKA, is biting, with glitchy effects galore, contrasting with dreamy, fluid undertones to facilitate a cerebral and fully loaded listening expedition in all of 115 seconds. The hazy, lo-fi tune “Daze 22.00” captivates with Eastern influence and viscous synthesis that make for an off-kilter combination, without proving too jarring. And optimism lives inside a single song in “Spring”—a gracious way to end such a stunning compilation, with its subtle, saccharine buoyancy.
It would be remiss not to mention the stunning visualizer that accompanies Hi This Is Flume. Crafted by Jonathan Zawada, who’s also behind Skin’s designwork, the video is as quixotic and crafty as the music beneath it. While the record is plenty enticing on its own, Zawada’s interpretation of it in a visual medium really bolsters the entire listening experience, with its swirling psychedelia and internal/external journey premise.
Hi This Is Flume points to a new era for Flume that sees an already remarkable artist stepping away from convention, while remaining accessible. The advanced sound design and clear step outside his creative cavern showcase a matured talent who continues to carve new niches in the modern electronic sphere where no artist formerly thought to look. With news of even more music on the horizon, Flume is poised to continue throwing himself from experimental precipices for the better.
Dropping Hi, This is Flume, earlier this week, Flume surprised fans with his first full-length project since 2016’s Skin. With features from SOPHIE, JPEGMAFIA, and Eprom, listeners and artists alike rejoiced over the intricate new work from the producer. Though his releases in the past have been sparse, it looks like the Australian artist may be changing his pace.
Announcing his upcoming Lollapalooza set on Instagram, Flume captioned the post “excited to be back, more shows and more music to come…” While there is no word whether this will be a studio album, EP, mixtape, or something else, more shows and music from Flume is certainly something to celebrate.
Now, Flume’s latest body of work is available in full, and the three-year gap since his last full release proves to be well worth the wait. Capping out at 17 tracks with a accentuating visualizer, Hi, This is Flume showcases evident growth from the “Never Be Like You” producer while still managing to hold true to Flume’s beloved brand of off-kilter, genre-twisting appeal across the tape’s 38-minute run time.
Flume‘s surprise mixtape, Hi, This is Flume, is set to land any minute now, and as fans eagerly await the Aussie beat guru’s highly anticipated return, the good news just keeps pouring in. The Skin producer was just announced as a headliner at Lollapalooza this summer, signaling a huge swell in momentum for the beloved electronic experimenter. To hype the Chicago iteration of the festival this summer, Lollapalooza has dropped off a short teaser announcing ticket sales, featuring a brand new, yet-to-be identified cut from Flume.
The “Summer is Coming” trailer, which might even succeed in plugging Flume’s return more than the actual festival, features clips of the iconic summer gathering at Grant Park, soundtracked by the delightfully off-kilter clinks and clicks that only Harley Streten can do so well. Chopped vocals and rubbery percussive breaks come together with a charming, cinematic appeal in the new ID, and if the nameless track is any indicator of the impending mixtape Flume has promised, everyone is in for quite the treat.
Chicago’s Lollapalooza provided fans an early morning gift in the form of its 2019 lineup. Returning to its home of Grant Park from August 1-4, the four-day affair boasts yet another all-star roster with everything from hip-hop to EDM. Perhaps the biggest indication of electronic’s influence over the modern music sphere is the festival’s headliner list. The Chainsmokers and Flume are both listed as headliners, joining a list that includes heavy hitters like Ariana Grande, J Balvin, and The Strokes. Other dance music acts making the lengthy list are RÜFÜS DU SOL, RL Grime, Whethan, Alesso, Boombox Cartel, and Lane 8, to name a few. Similar to Coachella, it seems that the many shades of dance music are playing an increasingly larger role in the festival’s lineup year upon year.
It’s been more than two years since the release of Skin Companion EP 2, and the talented producer has finally surfaced with a major announcement: a new mixtape, titled Hi This Is Flume, hits the airwaves on March 20. In the time since his last release, Flume’s been largely quiet on social media, only surfacing from time to time to share photos of his travels.
At the end of 2018, the Australian producer promised in a tweet that next year he’d “be back in your life,” and now it’s finally time.
Flume is back, but in a different medium: video. The pioneer of future bass released two documentaries on Apple Music, Flume: When Everything Was New, and Sleepless: The Story of Future Classic. Each outline the last six years of the producer and DJ’s life, with one focusing on the individual’s journey and the other showcasing the rise of Future Classic, the imprint where Flume launched his career and an incubator of Australian talent.
The two 45 minute documentaries were directed by Nicholas Wrathall, and the Flume-centric documentary was released as a four part series on the Australian artists’ YouTube page. Harley Streten has documented his life on tour before on his Flume Adventures series, now, he’s upped the ante with longer-form video content that dives into the life of one of the most successful electronic music producer and the business he associates with.
As a dance music taste-maker, producer Notaker demonstrated his skills in this exclusive mix for Dancing Astronaut‘s mix series, The Radar. Since early 2018, the St. Louis native has derived support from some of the most respected labels in the game, taking shelter at mau5trap for his debut EP Erebus I that peaked at No. 6 on the iTunes top electronic albums chart. In addition, he’s seen increased success with the Vancouver-based imprint Monstercat, a relationship he forged to release his latest single, ” Into The Light” featuring Karra.
This mix will guide listeners on a “sonic journey,” as he explores a diverse arrangement of sounds within the “electronic spectrum.” Kicking things off with “Into The Light,” Notaker maintains a balance between light and heavy bass music, including the REZZ remix of Porter Robinson‘s “Divinity,” the 2017 Flume hit “Hyperreal,” k?d‘s show edit of “Find Paradise,” a collaboration from up-and-comer 1788-L featuring Totto on “Full Burst,” and more.
Twitter user Electric Hawkhas broke news that has undoubtedly made many dreams come true after posting a clip of Damon Albarn from Gorillaz speaking to Beats1 in an interview. The Gorillaz frontman mentioned that he had been in the studio with Australian DJ and Producer Flume, which is doubly exciting given the producer’s dark phase that began in 2018.
Flume recently announced that he had new music coming in 2019, and it’s now looking like a potential Gorillaz collaboration will be a part of what is to come. If they do release a song together, it will likely be different than anything we have heard from the band or producer to date — which only builds the anticipation for their potential collaboration.