![]() If they want to pay me more money for the shows, then fuck yeah, let's do it. I want to make what I want to make, and make a living off it. It's exciting to take it to new places, but it's never been my intent to be the biggest thing in the world. Or I could make a different record, do different venues, and grow. I could do another tour, make a record that's very similar, do similar venues. Is that something that you've always wanted? Have you chased that bigger fame? It's just me doing my thing and if people dig it, it's just worked out. "Oh, he's getting a lot of plays, maybe we should play his stuff." It's stepping into a new territory. This record, it's like the radio stations are starting to listen. It's also because the first record felt organic. And now, I do the same size shows in Australia as I do in America-that's really cool. It exploded in Australia first and then the rest of the world was coming on board and it was quite a process. It just grew and grew.ĭid you notice at those festivals- There was a lot of hype. We just hit CMJ and SXSW and came over for little tours. It was an online thing and I was doing big-not huge-but considering I wasn't getting played at all, the shows were solid. I got radio play on KCRW, and that's about it. Really, I don't know if there was one particular song in the U.S. Was there a particular track that pushed you over the edge in terms of recognition? "Sleepless" was the first thing that came out and really gained a lot of traction online. we started venturing outside of Australia to the States. And I was like, "Fuck, let's do a record," so I started working on a record and it just kept growing. I was doing remixes and they were getting traction. I was doing music on SoundCloud was getting some traction on some blogs. Do you remember when people began taking notice of your music? It was a snowball thing. I remember getting the promo of your self-titled project and being really into it then, maybe six months later, everybody in the States starting flocking to it. On an overcast day in Manhattan, Complex caught up with Flume to discuss the last four years of his career, how he got Allan Kingdom and Raekwon on the same track, and why he's okay with you hating his Skin. With a clear head and an open schedule, Flume sat down to craft his second album, Skin. (What So Not mantle has since become a solo project after Flume officially left in 2015 due to creative differences.) ![]() ![]() Over the last four years, the Sydney-based producer has worked with your pick of the critically-acclaimed litter, remixing everyone from Arcade Fire to Disclosure to Lorde to Sam Smith. As his intoxicating sound-adaptable to pop songwriting but capable of jarring weirdness, too-became the flavor that numerous copycat bedroom producers sought, Flume toured on the strength off his solo material and What So Not, his more festival-ready EDM project with fellow Australian Emoh Instead. With the release of his self-titled album in 2012, Flume went from an artist with significant buzz in his home country of Australia to rocking venues across the globe. Before, an artist like Flume provided the blueprint for how the service can turn a producer with a recognizable sound into a rising star. Because of increased record industry input, the future of SoundCloud as a music discovery platform is cloudy.
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