At the core, the 13 songs on the album contain all the classic elements that made Flume an international superstar in the first place. Possibly the most anticipated Electronic/Dance album in years, Flume finally unleashes 2022’s PALACES. Entitled HI THIS IS FLUME, the Grammy-nominated mixtape served as a stopgap between albums until he was ready to unleash his next musical opus… While working on his third album, Flume released his first mixtape in 2019. The album was an international success as well and Flume was honored with many nominations and awards in other countries including winning a Grammy Award for Best Dance/Electronic Album in 2017. The album was critically lauded and earned him several ARIA Music Awards including Album of the Year, Best Male Artist, Best Dance Release, Best Independent Release, Best Pop Release, Producer of the Year, Engineer of the Year, and Best Cover Art.
Another #1 album in Australia, SKIN also hit #1 in New Zealand and invaded the Top 10 in the US, landing at #8 on the Billboard 200 Albums chart. A musical sensation in his homeland, Flume was honored with several awards from the AIR Awards, the APRA Music Awards, and the ARIA Music Awards.įlume’s second album, SKIN, was released in 2016 and proved to be another enormous success. The album was a commercial success, reaching #1 on Australia’s ARIA albums chart. Investing in a laptop computer, Flume used it to record his debut album, FLUME, released in 2012. After receiving online acclaim for the music, he was posting online, he released his debut single as Flume, “Sleepless,” in 2011. By 2010, he was producing House music under the name HEDS. He began his musical journey at the age of 11 by creating his own music using a DJ/mixing program taken from a CD that was included free in a box of Kellogg’s Nutrigrain Bars. Find out more at Australian musician, producer, and DJ Harley Streten is better known by his stage name Flume. He’d like to point out that if you read through all 5000-plus words of this and the only thing you take away from it is “but where was ?,” he seriously doesn’t know what to tell you. Little Scout’s Take Your Light, Troye Sivan’s Bloom, Jonathan Boulet’s We Keep the Beat…, Totally Unicorn’s Sorry, Scott Spark’s Fail Like You Mean It, Megan Washington’s There There, Nick Cave and the Bad Seeds’ Skeleton Tree, Holly Throsby’s After a Time, Dead Letter Circus’ This is the Warning, Paul Kelly’s Spring & Fall, HANNAHBAND’s Quitting Will Improve Your Health, Cloud Control’s Bliss Release, Hockey Dad’s Blend Inn, Snape’s Always, Something for Kate’s Leave Your Soul to Science, Jamie Hay’s King of the Sun, COLOSSVS’ Unholy, The Finks’ Middling, Jane Tyrrell’s Echoes in the Aviary, Ted Danson with Wolves’ WWTDWWD?, WAAX’s Big Grief, Mere Women’s Big Skies and Pinch Hitter’s When Friends Die in Accidents.ĭavid James Young is a writer and podcaster who’s spent his 20s consuming as much Australian music as possible. Although filled with the kind of sneering, dark humour that Briggs has become known for, the album also gets decidedly intense when it gets to tracks like ‘Report to the Mist’ – a song that is still as potent and tragically timely as it was four years ago.īeyond all details of its importance and its relevance, however, one key point remains: Reclaim Australia straight up fucking bangs. With a decade of experience, Adam Briggs and Daniel “Trials” Rankine hooked up in the mid-2010s to make a resonant, bold protest album that was defiant purely by the fact it existed. From angry and anti-colonial, to loud and life-affirming, to electric and electronic… this was Australia. We’ve since moved on to more high-brow stuff, like The Veronicas.Īs such, there were a myriad of game-changer LPs to emerge from Australia this decade – and, while we can’t get to all of them, here are 50 (one per artist, so no double-ups and alphabetical, so no numeric quarrels) that assisted in sound-tracking the decade that was. We went through a lot in the 2010s – we put away the floor toms at the front of the stage, we saw nu-folk come and go, pub-rock went from being naff to platinum-selling and we even briefly cared about the Stafford Brothers to the point of them getting their own television show. This translates across every scene, every genre and every passing trend within Australian music. The album is what we take the most pride in the thing that’s still seen as the big deal the thing that can make or break you as an artist.
For Australian music in the 2010s, it’s very much remained business as usual.
It should be noted, however, this has primarily been the discourse within an international perspective. The 25 Most Underrated Albums Of The Decade