![]() ![]() "When I think of the 'Flume sound', the only way to describe what comes to mind is several very large VVWWUUUM sounds playing a few chords, often interspersed with some big honks, over a heavy but infrequent THOOM," says Kitty, an electronic producer and songwriter based out of New York City. The style can be tricky to describe with concrete vocabulary, and those that attempt to describe it often do so phonetically. He's developed the style of his debut album-waves of bombastic synths that sound like gale force winds gusting safely outside your window-into a trademark framework that some refer to as "the Flume synth" or "Flume drop." Eventually the sound became so identifiable it warranted its own handle. In the years since, Streten has gone onto even more worldwide success, helped along the way by even more buzzy reworks and a 2016 sophomore album that spawned international hits (like THUMP's #2 track of the year, "Never Be Like You" feat. It quickly became clear that the sound was easily reproducible, and popular too. You can see it on display in its earliest form within Flume's remix of Lorde's "Tennis Court," when after a slow build up of compressed synth washes, the sounds unravel into punchy halftime drops interspersed with short vocal snippets that pop in short succession. It happens like clockwork at the climax of each of his most well known songs. As showcased on a number of high-profile remixes around that time, like his 2013 flip of Disclosure's "You and Me," many of his productions started featuring the same dizzy drop-these piercing flurries of stuttering synths and stomach-churning side-chain compression. But once I finally caught him live at New York's Terminal 5-where I dodged bros with their partners on their shoulders and guzzled a few $13 well drinks-I realized his success relies on a recipe. ![]()
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