Flume album cover artist1/1/2024 ![]() ![]() ![]() Three tracks from the album were voted into the top ten of Triple J's Hottest 100 of 2014, including the number one spot for " Talk Is Cheap". In April 2014, Built on Glass, his debut studio album, was released to generally positive reviews and debuted at number one on the Australian ARIA Charts. Murphy's cover of Blackstreet's " No Diggity" was featured in a 2013 Super Bowl commercial for Beck's Sapphire. In January 2013, the work won Best Independent Release at the Rolling Stone Australia Awards for 2012. In October 2012, he won Breakthrough Artist of the Year and Thinking in Textures won Best Independent Single/EP at the Australian Independent Records Awards. In 2012, as Chet Faker, he issued an extended play, Thinking in Textures, and signed to Downtown Records in the United States. 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.Nicholas James Murphy (born 23 June 1988), known professionally as Chet Faker, is an Australian singer and songwriter. 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. In a way, it did crack a code: To see music’s inner workings laid bare came as a revelation to young Streten. 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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