The wait is now over, as the Australian veteran has unleashed a ten-track collection of tunes aptly titled Things Don’t Always Go The Way You Plan. In the words of Flume, “It’s been ten years since my first record came out, since then I’ve written a lot a lot music and not all of it has seen the light of day. After seeing the reaction to ‘Slugger 1.4’ and how much love it got, I figured it would be fun to release more of these forgotten ideas I from my old laptops.” What an amazing time to be a Flume fan!

Spanning ten years of time, the tracks in the ensemble showcase the undeniable evolution and versatility of the artist. From 2012’s ‘Why 1.3’ reminiscent of his older works, to 2020’s ‘Nice 2 Know U 1.5.3’ and ‘SPOKE 2 ALIENS FINALLY 1.3’ that mirror his Hi This Is Flume era, each track tells its own unique story. With more simple ideas such as ‘beat 58 1.1,’ and more hashed out productions such as ‘Counting Sheep (V2) featuring Injury Reserve, fans are sure to find a favourite in Things Don’t Always Go The Way You Plan, even if not every track tickles one’s fancy.

The best part is that Flume dubbed this “the first batch of tracks.” Until more news comes, dive into Things Don’t Always Go The Way You Plan below.

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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. The vocals provide a catchy hook to lure listeners in, and the production knocks it out of the park with its emphatic energy.

Palaces only gets better from there. Mirroring the vibrance of the artwork, the album is colourful and enthralling, with thirteen individual tracks contributing to a complete listening experience. 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. 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.

As diverse and entertaining as it is, the true beauty behind Palaces is the tracks that showcase classic Flume with a 2022 twist. ‘DHLC,’ ‘Love Light’ and ‘Go,’ among others, boast the sound that fans fell in love with years ago, and it’s that nostalgia factor that ties the project together. No matter how far Flume has come, no matter how famous he has become, it’s tracks such as these that remind you of his roots, and that make the project so enthralling and easy to listen to on repeat. Accompanied by another mesmerizing visualizer, it’s safe to say that Flume is back. Don’t miss Palaces below.

Flume Palaces Visual Album

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For many fans, this has been a long-anticipated collaboration, as one Reddit user described on the Flume subreddit more than 2 years ago “if Flume is Palpatine, Quiet Bison is Darth Vader.” QUIET BISON himself has cited Flume as one of his major musical influences since the beginning of his career. 

The song itself delivers on this long-awaited promise. Beginning with shimmering, delicate bells and KUČKA’s gossamer vocals, the song seats itself within a scintillating atmosphere. This is propelled into a futuristic foray via a soft pad and a sharp, rolling snare. The sweep is peppered with KUČKA vocal chops. A thick, distorted kick drum then comes in on the drop, pulsating and grounded. This change is met with staccato vocal chops and new, buoyant and irregular synth. The effect is shocking and beautiful, propelling listeners into a mesmerizing menagerie of sound. 

The song transitions into its second verse via an even more distorted synth. KUČKA continues with lyrics that seem to fit the inventive atmosphere of the collaboration, as they pen, “Old roads to re-trace, new ideas to embrace. Take hold, watch it translate. Make it easy to relate, to relate….Ex-communicate, I just wanted to escape.”

The song’s final drop is an explosion of sound design battering against a metallic snare, seemingly sharper than before. These two sound design savants attack with synths that are fiercely futuristic and emancipated, yet the song remains steady as if a boat beating itself through a metallic sea. In a moment, the song is gone, and the wild ‘ESCAPE’ listeners are led through disappears, ready for listeners to repeat. It is safe to say that both artists have reached new peaks in this piece. 

Listen to ‘ESCAPE’ now and find both Flume and QUIET BISON on Flume’s US Tour this summer. Also be sure to check out the b-side single ‘Palaces’ with Damon Albarn. 

[youtube https://www.youtube.com/watch?v=lup6uoiet5Y]

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The original saw Danny L Harle conjure up an alter ego to create a euphoric festival anthem with powerful lead vocals and and untamable energy flowing through the track. Flume stays true to that essence with very little manipulation to the vocals, but creates an energy that is more raw and unfiltered. The artist strips down many elements of the track before reconstructing them in a quintessential Flume way, with a granular approach to future bass that he has made his signature since the epic Hi This Is Flume. Flume’s take on ‘On A Mountain’ is exactly what one could expect from the creative, and that’s why it’s so addicting. Don’t miss it below.

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After going nuts remixing Hudson Mohawke and racking up 300k plays on his ‘Do You?‘ remix, msft. has decided to take a slightly more pop twist by putting his expert hands on one of Flume’s emotional anthems. ‘Holdin’ On’ (not to be confused with his other edit of ‘Holdin’ On To Me’ by NGHTMRE) has been a faithful pal of every future bass fan since 2015, but in this dress it has all the credentials to become your best friend too, bassheads!

After an inception pretty much identical to the original song, this remix quickly rears up in a classical msft. way, squeezing out all the filthiness possible from FLS’s plugins. This time the real game-changer is not his infamous bass, but the chopped vocals and the original’s elements that creep among the implacable bass lashes. These Flumesque cameos inside msft. sound really changes the equilibrium that we are used to find in his tracks and allows us to enjoy his unique style from a different perspective. This is an interesting development from the previous Ekali and NGHTMRE remixes, where the melodic breakdown and the drop weren’t as integrated as in this production. This successful experiment with different contaminations leaves me extremely excited for future collaborations with other talented producers outside the experimental bass community.

Enjoy ‘Holdin’ On’ on SoundCloud below and tweet us your thoughts!

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Now it has been officially released and can be streamed across multiple platforms. Harley Streten, aka Flume, takes the original track and drags it through a realm of glitch, hard kicks and heavy claps. Being that the original ‘Blue’ reached number one in Australia as well as going three times platinum, it was as if the Australian producer was paying homage and had to provide his own rework. It was also revealed that Streten has been consistently working in the studio during this time of quarantine and has hopes to release an album by the end of this year. Now more than ever could we use new Flume music, in the meantime enjoy his remix of Eiffel 65’s ‘Blue’ below.

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Selected from one of his earliest releases, ‘A Flume Tribute’ establishes an ingenious middle ground between mashup and remix, in which TRAILS dissects the melodies and overarching components from an assortment of Flume’s most coveted releases, repurposing them in his own arrangement, sprinkling in more than a few pinches of his own creative flair for good measure.

Take a moment to listen deeply to ‘A Flume Tribute’ from TRAILS below and be sure to grab your free download of the track here. How many tracks are you able to tangibly discern?

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“We made this song between a day at my place in LA and and a day at Chaz’s spot in Oakland. This was our first time working together, I’ve been a Toro Y Moi fan for a while,” Flume states about how ‘The Difference’ came to be. Despite never meeting or working together, there is an undeniable chemistry present throughout the track as Flume’s pristine production and Toro Y Moi’s summery vocals shine cohesively. ‘The Difference’ is unlike anything Flume has ever made before, yet the flawless execution speaks to his status as a legend in the scene. With the artwork continuing the theme of mysterious numbering, it may also be safe to assume that something larger is still in the works. Until we find out more, dive into ‘The Difference’ below to tide you over.

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