![]() The song eventually turns back up to a 10 as the song comes to a grand close, significantly louder than just a minute prior. Slowly turning the knob to a 2, as the stutter effect on the driving synth fades away, the song gets more ambient and atmospheric. The song starts with the knob turned to 5 with these stuttering layered synths that seamlessly pan left to right used as a taste for such an incredibly complex composition. Well, the whole album is, but this track specifically. ![]() If you want to hear a masterclass on sound design, then this is the track for you. This song, to me, is meant to be listened to loud as its mixture of future bass synths over essentially a trap drum beat makes for a great combination to hype you up. In the drop, there is this super Flume-sounding metallic snare that knocks my socks off every time I hear it. I Cant Tell features a stuttery, glitchy drop that is built up upon a fantastic vocal performance by Laurel. Its “simplicity” and melodic nature makes me want to go for a night-time drive, yet also dance along to the rapid hi-hats at the same time. In contrast to the rest of the album, this track is one of the most simple songs on the tracklist, however, that’s really not saying much considering it’s Flume behind the production. I will say it’s not the most impressive song on the album. There is a night and day difference between the first and second half of this song, and each half speaks its mind exceptionally well. The abrasiveness is eventually drawn out and faded away by ambient pads that create a dreamy scene for a vocal chop sequence that ties the latter half of the song together. The first half, with sounds reminiscent of “Amber” off “Hi This is Flume”, is this incredibly abrasive and industrial-sounding beat that has 808’s traveling all around your head and almost shriek-like percussion assisting the drums. ![]() Placed in the middle of the album, this track can essentially be divided into two. Although this whole album is a gem, here are five songs that I think represent it all best: However, this does not take away from the fact that ‘Palaces’ is so far one of my favorite releases of the year. The only thing lacking in this album is the iconic rap collaboration that we’ve seen in the other 3 past Flume albums. Flume and Zawada’s work go hand in hand, as Jon’s trippy, nature-inspired visuals mesh perfectly with not only this album’s narrative but the abstract abrasiveness of Flume’s sound, as well. Every song on this album has a music video, each with its own mind-numbing quirks that go with the pacing of their respective songs. Just like with his past work, Flume partnered with artist Jonathan Zawada yet again to bring on a full visual element to the record. In an effort to reclaim the natural world to its rightful owners, the now digitally uploaded and conscious birds create the DHLC (Devalue Human Life Corporation) to bring restoration to the planet. Through the bite, the bird then quickly learns of the ways of modern humanity, most notably the internet and its uses, as well as a society deeply rooted in capitalism. ![]() Rooted in a theme of nature and written during a solitary quarantine, ‘Palaces’ follows the storyline of a bird biting through a data cable in its natural habitat. Always crossing the line and raising the bar higher and higher, Flume is now 4 for 4 and has delivered yet another work of art… Finally, I can rest, as the long-awaited ‘Palaces’ has dropped on all streaming platforms.
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