I would listen to a track and be like ‘oh I wish it went like that.’ For, say the Lorde remix, it’s a really strong track, and so I just made it different. If I don’t feel like if I can make it better, then I’ll make it different. I don’t want to work with a song that’s perfect. I want to work with songs that are great, but I can hear where I could improve on them.
If I can’t make it better, I’m not going to try and work with it. What are the criteria for a song for you to remix? I’d be interested in working with Oliver from The xx. That’s kind of what we’re brainstorming at the moment.
He’ll go into his own space, so that’s writing lyrics and once we’ve got something, we’ll come back together and finish the track. I’ll put my headphones on or whatever and start writing beats and coming up with ideas. kind of merge our melodies together until we’ve got one thing where we’re both like ‘Yes this is it.’ Then, we’ll go from there. We’ll put it on a loop and sit down for however long it takes, 20 minutes, put our iPhone on record and just sing. I’ll kind of direct and we’ll come to a chord progression. What we do is he’ll sit on the keyboard, start playing some chords, mucking around. got a real, fine writing process with Nick, with Chet. You have to balance all these different things and it’s hard not to get caught up.
I’ve got a lot of procedures and things that I follow. I don’t usually write that quick and neither does he but when we’re together, it just works.ĭo you mean writing as producing or writing lyrics?Ī lot of producing is about being self-aware. We hung out for four days in this beach house, set up a studio in the living room and wrote three tracks in four days. When we come together, it kind of really works. Beats, drums, synths, production style stuff is where I excel. He’s good at everything I’m not good at and vice versa.
#Dj flume instagram for free#
I prefer it was for free and more people would listen to it rather than getting paid I’ve always seen music as promotion and advertisement for shows, to buy merch, to come hang out, records, vinyl stuff. I mean it’s good that you’re getting paid but like… don’t even fucking pay me if it’s going to be that small. It’s peanuts and it kind of pisses me off. I used to buy CDs and stuff, but it doesn’t bug me out that people don’t buy my stuff. If I didn’t have Soundcloud, I don’t think I would be anywhere in the same position as I am right now, and for me like, I grew up downloading music illegally.
#Dj flume instagram download#
What do you think of the transition from digital download to streaming? Soundcloud has always been a big part of your career. I’m doing my best to just do exactly what I did with the first one and do what I’ve always done, just write beats that I think would work. It’s almost difficult to not get caught up in that, especially when there’s a lot of expectations and pressure now. I’m not going to cater to doing that stuff. It was all about making a living off doing this and now, I’m kinda like, ‘Cool I’m just going to keep doing what I’m doing and everything else is a bonus now.’ I’m not really interested in having commercial success. To be honest, it was all about just writing beats and it still kinda is. If I want to re-release something, lets get a whole bunch of rad features on it and do something fun for another release.’ĭo you think there’s still life in “Holdin’ On” possibly for US success? I just, ‘Most deluxe versions and things are pretty lame in my eyes. They just go, ‘Oh that’s the record.’ I think it has definitely helped. They don’t know there was even a first one. A lot of people in the US and over in UK and Europe see as the record. I guess the deluxe version gave the album a second chance. It was on indie labels, and no one really knew how it was going to go. We thought it would be really good because the record didn’t get released worldwide at the same time.
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It feels like we’re starting to crack America.ĭo you think deciding to do the deluxe edition of the self-titled album helped the popularity at all? Like the last show we did in New York was at Webster Hall, which was half the size of Terminal 5, and now, we’re doing three at Terminal 5 so it’s six times bigger. I feel like I haven’t had something where I’ve been like ‘holy shit’ for a while, it’s still a bit surreal, and it’s just a bit hard to wrap my head around the fact that there’s that many people in New York.
How has it been playing sold out shows every night in NYC? Alone at last in the cavernous Red Bull Studios, Flume opens up about his self-titled debut album, his relationship with frequent collaborator, Chet Faker and the extreme transition between downloading and streaming.
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