Flume Quotes
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In the dressing room, we've just made it really Zen: low lighting, lots of candles, and fresh, healthy food.
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I'm not thinking about the next record really yet. I kind of want to do a bunch of stuff with Jonathan Zawada, the guy who did the album art. I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record.
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I definitely wanted the second record to be a much more grandiose thing. I wanted to push myself and make a big statement.
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Probably the No. 1 most important thing in my music is not to sound like anyone else. It is hard in this day and age.
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When I heard Flying Lotus, I was like, 'Wow, okay, everything can be off the grid.'
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Music is a job, but I figured out ways to get my mind into a place where I could be creative. I actually discovered meditation. It enabled me to clear my mind of all the drama and focus on the music.
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I don't mind playing my music live. It's fun. But what my real passion is is writing music.
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My main inspirations come from early '90s Trance, the French electro movement round '06, then a bunch of artists like Flying Lotus, J Dilla, Moby, The Prodigy. So I'd say it's some kind of experimental electronica with a strong hip hop influence. It's chilled, but people can still get super crazy and dance to it.
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A lot of electronic music out there feels cold. I want to incorporate a human element.
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I'm a huge fan of Flying Lotus. I like The XX's stuff.
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I was delivering papers when I was, like, 10 or 11, and I'd always daydream about being an artist as a full-time thing.
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The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals?
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For me, one of the downfalls of electronic music is that it can feel a little soulless or robotic.
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I feel like the first record was really finding my feet, figuring out what music I wanted to make... Now that I've done that, I feel like I've got a much clearer idea of what I want to sound like and what I want to discover. It's exciting.
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I want to keep Flume kind of experimental, weird, melodic, pretty.
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I feel like I ask people who have been in the industry for a while a lot of questions.
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I think I put a lot of special attention towards creating interesting textures and unique sounds. Music essentially boils down to two main elements: rhythm and melody. I feel tones and textures often get overlooked, so I like to take my time finding the right sounds.
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I feel like I need to continuously keep evolving and moving.
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I've been having meetings with people, just everywhere in the world, and it's like, 'Hey, really love you to work with me, send me some ideas.' That's the crazy part.
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There's a lot of creativity in the industry, but I don't necessarily think that the most creative DJs or producers are always the biggest ones. I think it would be nice to see more of an open culture to different music. I think that's happening. With Spotify, I think people are discovering a lot of artists they might not discover otherwise.
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I get bored of music really easily, so I always try and make music that makes sense, but then it's just a little bit wrong.
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I'd like to actually work with a lot of other people, and whether it's someone who is completely unknown who I love and think is a talent, maybe I'll work with them, or, like, maybe I'll work with some of the biggest pop stars and write music for them.
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To me, skin is alien and kind of weird; it weirds me out. It's strange, but it's also really intimate and personal; it's living, organic. That's how I want the music to sound; I want it to feel alien and strange, but also like it's got a heartbeat, like it's got a soul, like it's not made by a robot.
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Honestly, production when you first start can be difficult to wrap your head around.