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Glassio is reflective, alt dance-pop duo consisting of Sam Rad and Charlie P, met at NYU’s Clive Davis Institute after being paired on a project and instantly formed a bond. Their new single “Morning House” was written out of their bedroom studio and features fellow NYC artist Charles Fauna. The song fuses an electro-pop production along the lines of Flume with soulful and melodic vocal arrangements comparable to Bob Moses.

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It’s rainy here in the city of Los Angeles, where me and a couple other writers reside. It’s made the city feel bleak and dark, but luckily we’ve got some great tunes coming our way that’s saving us from the pains of this week.

Geoffro is most famous for his work with Flume, which has already gotten him nominated for a Grammy, but he’s ready to start making a bigger name for himself within the public eye. The Cleveland-native is vulnerable to the audience in his new track “Quicksand,” and his incredibly intricate production and stunning lyrics make this easily one of the best thing we’ve heard this week.

On the track, he notes:

“This song has a couple themes inspired by a relationship, but also seems to reflect the weird times we’re going through in the world today. I got to work writing this song immediately after my first session with Flume”

Listen to the track below.

 

Rising Los Angeles based producer/singer Best Night Ever (Tyler Armes) makes indie pop music with an experimental approach, with stylistic production tips to Flume and Goldroom. Best Night Ever is his solo project and this week he unveils a new single “Caught Up.” All proceeds from the sale of the track go towards benefitting mental health charities The Trevor Project and Kids Help Phone in Canada so press play and support a good cause.

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I don’t know much about Naderi but his remix of Flume and Vic Mensa‘s “Lose It” is pure fuego. While the Australian producer made a name for himself working behind the scenes as an audio engineer for fellow Aussie artists Flume, What So Not, and Carmada, Naderi’s endeavors as a solo artist are catching ears across the industry. I’ve been told that this style of music called future bass or melodic bass but quite frankly, I just know that it’s uplifting, shows off a fair amount of creativity, and it’s very well-produced – Can’t wait to hear more from this guy.

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Stunning.

“I started the instrumental at my apartment in Manly, Sydney – first working with the drums and arrangement, then building chords around it. I did some vocal bits as sketches before meeting up with Andrew Wyatt from Miike Snow in his studio in New York City. Andrew was writing things in his own head while I played the song over and over then after about an hour he jumped up and said, “stop” and launched into singing this amazing chorus melody. He was singing in jibberish into his phone, and then fleshed out the lyrics of the chorus and verses. I finished it off with the crazy ending further down the line, a few months later.

The last four months have been the longest non-touring period I’ve had since the album came out a few years ago. I love travelling, but Sydney is my home. It was humbling to be able to make something in a building so iconic. Being inside the Sydney Opera House filming overnight with no one in the building was a real privilege – it has such a presence, so much character. The director Clemens really nailed the balance I wanted between the real and synthetic and he has a great eye. It’s our love letter to Sydney.”