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 don't mind playing my music live. It's fun. But what my real passion is is writing music.
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I find that if I interact more, the crowd gets way more into the music. We also have a full live show happening, and I have lighting crew that travels around with me. We've got this Infinity Prism thing, which is lots of fun. It's an optical illusion device that we carry around.
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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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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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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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A lot of electronic music out there feels cold. I want to incorporate a human element.
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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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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'm a huge fan of Flying Lotus. I like The XX's stuff.
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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 want to keep Flume kind of experimental, weird, melodic, pretty.
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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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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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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 I ask people who have been in the industry for a while a lot of questions.
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I feel like I need to continuously keep evolving and moving.
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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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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'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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Often, when I work with a vocalist, I like to focus on the melodies first.
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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.