In contrast, subsequent tracks “Sirens” and “Hollow” demonstrate a brilliant contrast to the electronic edge of the drops and the smooth vibrato of the vocals. Opening track “Highest Building” starts off promisingly, but is ultimately let down by the unnatural mash of auto-tuned vocals. This is most notable on title track “Palaces," featuring Damon Albarn, which provides a soft and calming melody to accompany the birds. The album even features bird song recordings which are subtly woven throughout the album and provide an excellent ode to which Flume’s homeland. Palaces is an album centred around Flume’s return to his home of Australia and the iconic natural landscape and biodiversity.
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It’s full of incredibly sharp hooks and punchy beats, broken with some softer moments in between. These perhaps surprising features contributed to the unique form of this album, which is definitely much stronger in the second half. As he told Apple Music about his choice of collaborators, “I want to find people who are doing something different and open to working with different sounds and unconventional beats-just open-minded people who have something to say.His first full length album since 2019’s Hi This Is Flume, Palaces has a number of surprising features from big names such as Caroline Polachek and Damon Albarn. Wherever electronic music is right now, you can be sure that whatever Flume is cooking up in his studio is two steps ahead. On the 2019 mixtape Hi This Is Flume, he dusted off his most experimental beats yet while linking up with slowthai, SOPHIE, and JPEGMAFIA. His twisted trap drums and spacious atmospheres proved the perfect foil for vocalists like Vic Mensa, Tove Lo, and Little Dragon, leading to production work for Lorde and Vince Staples.
With 2016’s Skin, he showed his growth with trickier beats and more innovative sound-sculpting, without forgetting about the importance of a perfect hook (exhibit A: “Never Be Like You,” with a swoon-worthy topline from the Toronto singer kai). Those head-nodding beats and hazy effects quickly became staples on chill playlists, but Flume was already lining up his next wave. The sedate vibe was the flip side of EDM’s peak-time energy, but his slippery synths and ribbon-like vocal edits showed kinship with dubstep a sound many would soon call “future bass” was born.
The following year, his self-titled debut album established the outline of his nascent sound, pairing spring-loaded drum programming with dreamily chopped-up samples. A decade later, the deliriously laidback vibe of his debut single, “Sleepless,” got him signed to Australia’s Future Classic.
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In a way, it did crack a code: To see music’s inner workings laid bare came as a revelation to young Streten.
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The free gift wasn’t a secret decoder ring, but a CD with rudimentary production software. Streten got his start making music when he was 10 or 11, when his dad bought him a box of cereal. In the process, he helped pioneer a whole new dimension of chill. In the early 2010s, just as main-stage EDM was pushing tempos and decibels into the red, Flume-aka Harley Streten, born in 1991-went in the opposite direction, delving into hip-hop beats and airy synths. Australia is a long way from electronic music’s principal hubs, but don’t tell Flume: When he was just 20 years old, the Sydney producer leveraged his easygoing surfer attitude into single-handedly changing the course of electronic music’s evolution.
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