9/10/2023 0 Comments Skin companion ep 2![]() The most promising tune on the EP is “Weekend,” a reverie with extended beat-less portions. “Fantastic,” a collaboration with Dave Bayley of Glass Animals, is a colorless mid-tempo number with a clomping drum pattern designed to make heads bob. “Depth Charge” will do fine as a bridge towards the more peaceful side of a live set. The rest of Skin Companion II veers away from the rough stuff to return to the modes Flume explored on his first album. The central riffs of the two tracks are similar, as are the liquidating blots of bass and the drum breaks that “Uzi”-producer Charlie Heat also inserted into Kanye West's “All Day.” “Enough” never surges beyond emulation, any abrasiveness blunted by the feeling that this is an academic beat-making exercise. But the song plays as an attempt to redo Lil Uzi Vert's “Uzi” and extract the magic from its alluring rumble. He leads with an uppercut, a track that's supposed to slug its way into your subconscious: “Enough” features rapping from the stolid veteran Pusha T, and the beat shovels a stream of noises-hollow wood tones, staticky crumbles-at the listener to stimulate a fight-or-flight response. ![]() He spoke of “mak experimental music accessible” and “fus the abrasive and the beautiful,” but seemed to sell both sides short.įlume patrols the same liminal zone on Skin Companion EP II. He enlisted singers-Beck, Tove Lo-to create pop songs that were neither sugary nor off-kilter. Flume worked with rappers on the declarative, bruising end of the spectrum-Vic Mensa, Vince Staples-but didn't make the kind of songs that really knocked you on your ass. His second full-length, Skin, released four years later, set aside big-room lullabies to emphasize big-name collaborations, but there was a reticent quality to it. Flume's 2012 self-titled debut, an oasis of lite house and loungeable hip-hop, offered refuge from the fusillade of trap beats sweeping through electronic music at the time. His songs can be easy to fall into, but they don't usually lasso listeners and ensnare them like an undeniable airwave triumph. The Australian producer Flume (born Harley Edward Streten), built his career on a different type of accessibility.
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