His creative process is a really inspiring thing to be a part of. “I’m such a big fan of Harley’s so it’s unbelievable to be in a position to create music with someone I look up to and can learn so much from. “Working with Flume on ‘Say Nothing’ has been a really incredible experience,” MAY-A added. I was really excited about the initial idea but it was only once I got back to Australia in early 2021 and linked up in the studio with MAY-A that the song really came to life.” “We wrote the song midway through 2020 while the pandemic was still pretty new. “This song is about feelings of post relationship clarity,” he said in a statement. On “Say Nothing,” Flume uses some unconventional drum sounds and a squishy bass thump to push the dance track outside the realm of typical club fare. It comes with an impressive roster of guest artists including Damon Albarn, Caroline Polachek, Oklau, and more. Palaces was written in his native Australia, with a title that’s meant to evoke the natural wonders of coastal New South Wales. Palaces drops May 20th, and as a preview, the electronic artist has shared lead single “Say Nothing” featuring MAY-A. Harley Streten has announced his first album as Flume since 2016’s Skin, and his first studio set since 2019’s Hi This Is Flumemixtape. Flume is stuck between innovation and the urge to party like it’s 2014, and though Palaces has real highlights, it is weakened by this indecision.The post Flume Announces Comeback Album Palaces, Shares “Say Nothing” Featuring MAY-A: Stream appeared first on Consequence. Only Fans is by far the best vocal track, as Virgen Maria solicits over haphazard thuds and distorted bass (“hi bitch, you’re not me / will never, will never, will never be / you’re just a puta wannabe / I’m the bitch, puta queen bee”), a glimpse at what could be if Flume was less interested in packing stadiums.ĮDM trap came and went leaving few survivors, but in some cases it served as a gateway to more great music – see the brilliant Bauuer record Planet’s Mad. There is more of note in the instrumental offerings as DHLC’s spasmodic synth hits bounce enjoyably off squelching bass hits and phased hi-hats, while Get U moves from an abrasive, Container-esque first half to a more mellow soundbed utilising the Arcade vocal loop from Lil Tjay’s Calling My Phone. But for a producer as able as Flume, many of these songs feel like uninspired pandering. Caroline Polachek sounds characteristically angelic on Sirens, and a sleepy-sounding Damon Albarn punctuates the slow build of the title track. Opening track Highest Building contains an earworm hook followed by a clumsy synth line that seems to mock its cadence, while I Can’t Tell alternates between a shuddering, rumbling trap beat and moody break-up lyrics. Although he’s more aligned with the mainstream, Australian-born Harley Streten, aka Flume, is perhaps her closest equivalent these days, and new album Palaces spends much of its runtime melding gnarly drops and melodious songwriting in a manner that won’t surprise his fansin the slightest. It has now been over a year since visionary producer SOPHIE passed away, taking with her that unique sonic sensibility which threw club culture into a meat grinder. The Australian producer’s latest gets stuck between innovation and the urge to party like it’s 2014
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