“ Wormhole,” for all its Call of Duty lock-and-load effects, never quite feels sinister, and the siren-like textures of “ Daze 22.00” aren’t as trippy as the title promises. “ Dreamtime,” a vortex of white noise with feathery vocal effects, could soundtrack a Coachella documentary filmed by David Lynch, while the synths of “ Jewel” take on an uncanny vocaloid quality, a little like the melodic manipulations of Battles’ “ Atlas.” At other times, a certain scrappiness would be welcome: less airtight momentum, more negative space. The bulk of the mixtape’s tracks circle the two-minute mark, giving the sense of a sketched roadmap to a new outlook (Streten has already promised “more music to come”). Seventeen cohesive tracks nudge the needle on Streten’s sound, with frequent jump cuts from dismantled clubby beats to pogo-inducing drops and thick bass, while generally keeping his gifts for emotive melodies in the foreground. Hi This Is Flume is, both philosophically and sonically, an inflection point. “Tap the artwork to listen and save to your own music collection,” Streten says with satirical faux-buoyancy. (Streten’s previous full-length was titled Skin, geddit?) Underscoring this message is Hi This Is Flume’s opening title track, a spoken-word novelty which parodies streaming platform commercials. One song, the bright, chime-strewn “ Ecdysis,” is even named after the process of a snake shedding its epidermis. The mixtape’s title has a pointed sense of re-introduction, like the pop superstar who indicates, with a self-titled album years into an established career, that she is pushing the reset button. Hi This Is Flume is set up to self-consciously dismantle the view of Streten as making music optimized for the algorithm. His mega-popular pillowy bangers are engineered for broad appeal, often possessing the “soft, emo-y, cutesy” simplicity that one streaming-first producer, speaking anonymously to Liz Pelly in The Baffler, recognized as playlisting catnip. Furthermore, it went Gold in the US and received Platinum certification in Australia.Despite his work with inventive artists like Vince Staples and Lorde ( and a Grammy to his name), Harley Streten’s music as Flume has often felt like bait for audiences who have moved on from the soft-focus EDM of the influential YouTube channel Majestic Casual but still prefer to keep their listening lite. In addition, this project was a No.1 album in countries like Australia and New Zealand. It reached No.25 on the UK’s official albums chart. In the US it peaked at No.1 on the Billboard 200. Commercially, “Skin” enjoyed massive success in multiple regions. This single featured Swedish musician Tove Lo. “Say It” is the final single of this project and it was released on April 20 of 2016. Flume collaborated with Vince Staples on the latter song. They were both issued in January of 2016. “Never Be like You” and “Smoke & Retribution” are the first and second singles from the album. “Skin” was promoted by three powerful singles. Mom + Pop Records, an American record company, also contributed to the release of this album. The album was made public through Australian record label, “Future Classic” and English record label, Transgressive Record. May 27 of 2016 is the official issuance date for Flume’s second studio project, “Skin”. “Never Be Like You” made Rolling Stone’s list of the best songs of 2016. The following songs also lost that award: It lost to “ Don’t Let Me Down” by The Chainsmokers featuring Daya. The song was nominated for the award, “Best Dance/Electronic Recording” at the 59th Annual Grammy Awards in 2017. The song can be considered to belong to the Alternative R&B genre as well as the Future Bass genre. It was written and produced by Flume and Kai with support from Geoffrey Patrick Earley. On January 16 of 2016, Flume released this song as the 2nd single from his “Skin” album. Album/EP: “Skin” When was “Never Be Like You” released?
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