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And what a loss that would have been, because I don’t think a mainstream EDM track has impressed me this much since Skrillex properly went overground a few years back. Had it not recently bagged the Grammy for Best Dance/Electronic Album, this fabulous record might well have slipped under my radar, given Flume’s poor showing in the UK charts. By conjuring a convincing image of a physical, warts-and-all performance occurring within the arrangement, that guitar part significantly increases the song’s overall sense of emotional sincerity for me, especially since its intimate sonics naturally support the verse’s upfront, breathy lead vocal delivery. The musical content of the part itself isn’t anything to write home about, but that’s not the point, because what’s special is everything that’s going on around the notes: the little creaks as left-hand fingers are repositioned on the fretboard the faint suggestions of the player’s breathing and the rustle of their clothing and the air-band background hiss that’s pumping in response to the channel’s dynamics processing and/or automation.

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By contrast with the vocal, it’s full of plenty of authentic-sounding character, thereby adding a crucial extra organic dimension to the verses of this song. Which is why the opening acoustic guitar part’s such a lifesaver. She’s not a bad singer by any means, but whatever unique character she might have had is all but stifled under a ton of band-wagon EDM effects that in themselves aren’t evocative enough to draw me emotionally into the production as a whole. These days, however, the extreme corrective and/or intentionally destructive processing frequently meted out on lead vocals in the name of genre-friendly ear-candy can undermine their emotional immediacy somewhat, as in the case of this recent debut single from Starley. The most obvious way of doing this is by layering in a lead vocal with plenty of grain/ style/ wistfulness/ soul/ lewdness (delete as appropriate).

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Five tracks from a fifteen track album highlights how consistently great this album is.Once any commercial electronic music style has progressed beyond sheer “Whoa! Cool robot noises!” sonic novelty value, one of the perennial challenges facing producers is how to imbue their synthetic/sampled raw materials with enough humanity to elicit slightly deeper emotional responses.

I enjoyed every track a lot but the ones in particular that I felt stood out really well include Insane, Bring You Down, What You Need, Ezra and Sleepless. All these characteristics amalgamate with each other to produce a fantastically fresh, unique and cohesive album with so many little elements throughout each track differing slightly to enable high replayability.

As a producer curated album, it succeeds on many fronts the unusual chord progressions, off-kilter instrumentation, pitch-bending as well as the heavily chopped and manipulated vocals paint a very vivid image of the sound Flume went for.

The self-titled debut album by Flume released back in 2012 is a great, ambitious, electronic downtempo record which has plenty of positives to The self-titled debut album by Flume released back in 2012 is a great, ambitious, electronic downtempo record which has plenty of positives to take from.

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