From the ‘Wall Fuck’ equivalent in ‘Get U,’ to the chill-inducing piano in ‘Jasper’s Song,’ to the surprising hyperpop experiment ‘Only Fans’ alongside Virgen Maria, Flume keeps listeners on their toes one track after the next.Īs diverse and entertaining as it is, the true beauty behind Palaces is the tracks that showcase classic Flume with a 2022 twist. Never escaping the future bass sound that he has championed time and time again while simultaneously never letting it grow stale, Flume has created an auditory experience unlike any other. Mirroring the vibrance of the artwork, the album is colourful and enthralling, with thirteen individual tracks contributing to a complete listening experience. The vocals provide a catchy hook to lure listeners in, and the production knocks it out of the park with its emphatic energy. The project opens with ‘Highest Building’ featuring vocals from Oklou, and right off the bat, Flume showcases his masterful ability to create a radio-friendly hit that still resonates with fans of more eclectic electronic music – something he does repeatedly throughout the album. All that has culminated to the release of Palaces, and as a project altogether, the album surpasses all expectations once again. Additionally, in similar fashion to Hi This Is Flume, the creative has demonstrated that an album can be so much more than music, tying in extraordinary artwork and videos to complement the sonic experience along the way. From the pop-leaning, yet still quintessential Flume-sounding ‘Say Nothing’ with MAY-A, to the highly-awaited ‘ESCAPE’ alongside QUIET BISON and KUČKA, the Australian artist has continued to push the boundaries of his productions. Ever since, anticipation has been building towards the release of Palaces, with the legendary artist gracing us with a handful of versatile singles to scratch our itch. There's moments that play out in shadow, figures framed by smoke before pulses of coloured light cut through the darkness or strobes blind the hillside, much of it matched to the rhythms.As 2022 came to fruition, Flume was among the first to announce that this year would be the year for a new album. However, just as important as the eye-searing impact of those massive projections is the absence of them. Jonathan Zawada's surreal visuals remain a highlight, the mind-bending imagery matching the mutating beats. It looks a little cheap compared to the Infinity Cube of the Skin touring days but it's much more about what's happening with the lighting and on-screen than on stage. The set-upĭressed in his motocross sports get-up, Flume's station is simpler than previous eras, working his gear from two modest pedestals framed by mobile white arches. Unless you want to experience it fresh for yourself, read on for all the takeaways from Flume's latest outing. And the feeling was mutual, with the crowd lapping up nearly everything he served. "It's just great to be back," he told the packed Red Hill Auditorium. Touring in support of his J Award nominated album Palaces, the super producer served up his future-facing productions alongside some vivid eye-candy and a bunch of special guests. We been holdin' on for this. Back on home turf for his first Australian shows since 2019, Flume kicked off with a career-spanning set at Perth's Red Hill Auditorium.
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