Flume

This debut album scraps coherence and convention and prioritises the more vital values of music; making songs that are both accessible and rinsed in invention. 

Flume manages to be somewhat of a timeless release in terms of modern electronic music, one that could have dropped at any point over the past 12 years or so and still made an impact of some sort.

Tender, beautifully melancholy urban electronica.

The musical collage approach, is the starting point for a captivating album of pop electronica.

An example that pop doesn't always have to follow the usual formula to make an impact.

While his approach to warped sound owes much to Dilla, Flume's aesthetic can be compared to SBTRKT's integration of R&B's bedside intimacy with distant beats and silky voiced female singers.

The entire album succeeds so well in its refusal to succumb to dance music tropes or to wallow entirely in obscure new trends. 

More often than not, bits of melodies and lyrics pop up here and there, but tracks never quite gel into a hook in any traditional sense ... Which isn't to say these aren't catchy recordings.

‘Flume’ bulges with upbeat songs with chopped vocals that you can’t sing along to without sounding like a broken sex-robot

For such a fledgling producer, this album is much, much better than it should be. A tremendously promising debut.

I’s something of an idea overload; Flume’s decision to try his hand at everything, whilst demonstrating his evident enthusiasm and frequent successes, comes at the price of the album’s coherency.

Streton definitely has the production chops to make a solid record. However, if he wants a great record, he needs to edit down that tracklist and sequence it for cohesion.

In with a bang, out with a whimper.

There's much to admire here, but Flume needs to fix his identity.