![]() ![]() Stacked with powerhouse features, the collaborative tracks stand out. Songs like 'Say Nothing' and 'Hollow' are lost amongst the awe-inspiring reworking of 'Get U', 'Only Fan', and 'Go', having been inspired by the futuristic sound of greats like SOPHIE. The project is perhaps lost during the tracks geared towards more mainstream, radio-friendly hits. Deviating from being entirely avant-pop, 'Palaces' grips on to Flume’s steadfast electronic sound, creating a record that feels innovative, yet entirely his. On 'Palaces', Flume expertly blurs the line between left-field avant-garde production and accessible pop music, capitalising off fo the burgeoning genre of hyper pop, all while remaining uncompromising of his vision and artistry evident since Flume’s beginnings. Fans of ‘Skin’’s dance-pop hits will be satiated, too, with lead single ‘Say Nothing’ featuring Australian artist May-A, the closest rival to that album’s standout, Tove Lo-featuring single ‘Say It’.The 13-track LP highlights Flume’s ability to push the boundaries of a genre he helped to define, all while never losing the gentle house tones and sense of introspection intrinsic to his sound. ‘Only Fans’, a collaboration with Spanish artist Virgen María, fuses carnal vocals with industrial beats, and there are moments of filthy bass-heavy electronica (‘Get U’) and chaotic hyper-pop (‘Highest Building’, ‘Escape’) elsewhere. That’s not to say Streten forgoes the bangers altogether. The title track, meanwhile, sounds like the sun rising after a wild night, with bird song (and his pal Damon Albarn’s distinctive vocals) guiding you home as the darkness ebbs away. Elsewhere, the euphoric ‘Go’ begins with ASMR-friendly sounds of running water, with bouncy hooks and lush production later erupting into a jubilant floor-filler. On the cinematic ‘Jasper’s Song’, trilling piano arpeggios are pulled and pushed through woozy processors – it’s the equivalent of a stoned geezer boshing out a Ludovico Einaudi piece on a short-circuiting keyboard. The results of this shift see Streten’s distinctive sonics imbued with an ethereal twist. The move shook him out of a creative rut: “Coming here and doing fuck all made it possible to unblock whatever was going on”. “I just need the space and the peace and quiet,” he told NME of the move in a recent interview for our In Conversation video series, explaining that the chilled lifestyle, where he could live among local wildlife, ended up being extremely conducive to his process. Inspired by the natural world, the project was first started in LA, but finished in his native Australia, where he decamped as the COVID-19 pandemic began. ![]() Third record ‘Palaces’ sees this sound infused with something more, though. READ MORE: Five things we learned from our In Conversation video chat with Flume He’s known for left-field sounds that ping with electricity tracks that are meant to be heard on big, bassy festival sound systems in the early hours of the morning. For the past decade the artist – real name Harley Streten – has crafted fluorescent tunes that have won him a Grammy (second album ‘Skin’ took the trophy for Best Dance/Electronic Album at the 2017 ceremony) and helped him sell out venues across the globe. Flume has perfected his own brand of wonky electronic music.
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