Point of No Return - Flume
I know what you're thinking, and no, it isn't the Flume you're thinking of. Weirdly there's nothing on the internet about this Flume, and the album actually comes under a different name and album title: Go Out and Say Bad by Amajaki but for the purpose of this review, I'm going to keep it simple and go by what it says on the tin.
For those that are acquainted with the OG Flume, this is not him - hardly possible for a producer of his caliber to release a fresh new, albeit different, album after his 2016 LP 'Skin' and the subsequent 'Companion' EP's, the last of which was released earlier in 2017. However, this album came to fruition by the grace of an unknown in the electronic music industry, further adding to the aura of mystery surrounding this 30 minute record. Having trawled the internet to find the origins of this album, my efforts resulted in no success; coupled with 'fake news' from Google promoting the arrival of a new OG Flume album, and finding numerous names for the album on various streaming platforms, it is safe to say that this mysterious record shall remain one of my favourite finds of 2017.
The album starts with the track 'Close Entropy'; hard hitting bass and atmospheric synths and 30 seconds into the track, an undulating sub-bass resonates through the soundscape. The repetitive beat forces your head to bob up and down in time, making it easier for whatever activity you're doing - walking down the high-street, mowing the lawn or even pumping iron at the gym - Close Entropy sets a scene for the rest of the album, a scene of rhythm and introspection. With the song not really taking off as many would expect the opening track of an album to, it paves the way for the second track to increase in complexity. 'Delta Ebullioscopic' begins with a similar thumping bass as Close Entropy did, yet there's somewhat more refinement to it. Once again the synths create a wonderful dream-like sound space. 33 seconds in and the essence of the beat changes, a double kick at the beginning of each of the four beats paired with the undulating sub-bass brings the listener to the "Point of no return". The claps and hi-hats add an extra layer of complexity to the track and before you've realised, the bass and claps cut out at 2:30 and you're left floating amidst the road with no beginning or end. The third track; 'Flashing Lights' starts in a similar way as the previous two tracks did - thumping bass, undulating sub-bass, dreamy synths and perfectly placed hi-hats. The beat forces you to continue walking along the path to nowhere for the first one minute and 40 seconds, after which the beat cuts off, allowing time for you to somewhat gauge your bearings, be it on the high-street, the lawn etc. Do not revel in this break, for it only lasts 17 seconds, until you're thrust in.to the kaleidoscope once again. The song finishes in a flash (yes, excuse the poor, poor pun) and the first three songs come to a close. The stage has been set, Act I is complete, queue Act II
'I Can Not Stop Me' starts Act II in the same way that all other songs prior to this have, but there is a much more personal, if not deeper feeling to this track - a more introspective approach to your journey amongst the sound scape. The progressiveness of the synths spurs the listener on, unwittingly wanting to here the next second of sounds before they even grace your ears. This hastiness is something that the producer masterfully creates, despite the record only being 30 minutes long. They encapsulate the human's desire for more and more, and before one can satiate their desire, they fall short of achieving it. The title of the song allows the listener to see themselves in this position, however they may choose to see themselves, and that even though they may think that this journey can be completed solo, the only one to stop you, is not you. 'In Absolute Abstinence' has a different vibe to it than the previous tracks. There's a sense of uplifting to the producers take on the first half of the LP. A sense of realisation of the listener's journey, and acknowledging that only through abstinence of routine, can progress be made. By breaking the model of the previous tracks, the producer creates a medium for the listener to continue their journey to nowhere with more confidence and purpose - though there has been no real change in the undulating sub-bass, or hi-hats the aura around the path you're walking along seems less shrouded in dust and debris, making it easier to see the 'unachievable' end. The final track in Act II; 'In Form and In Substance' carries a different vibe to the previous tracks in Act II, a sense of resolve and acceptance, but also a sense of direction.
Act III starts with 'No Criteria', the title of the song suggesting that everything that has been heard in the previous two acts is of a different nature and sound. The punchy bass accompanied by the the plucking synths and the different samples all combine into an interesting soundscape. There's a noticeable build up in complexity of sounds and also volume of sounds coming to the foreground of the song, and by 1:07 we are taken on the final journey of the album. The criteria needed to describe the mood of the song is not existent, it is a unique experience. Once again the track begins building up to something; the high hats sound like a second hand on a clock. A mere 37 seconds later, the complexity of the high hats increases and you've entered the final stage of the song; one that makes you expect something, but not having the criteria to explain what it is. The song fades out as if a record has been stopped too soon on a record player. A punchy bass and cosmic synths bless your ears as the next track 'Run Now' begins. Imagine yourself putting your headphones in and stretching your legs while the first 30 seconds of the song pass. The synths then start fading out, and the song begins building up to the drop at 1:04. It isn't necessarily a drop, its more of a chance for you to stop stretching and get on with that run. The rhythmical steps of your shoes pounding the tarmac will most likely stomp in sync with the beat... or you may stop and start raving.. It's a song for every occasion, despite it's length. It fades out in the same way as the previous track, and 'Today Revived' begins. You could almost run to this song as well, however you may find yourself shaking your ass a little too much to the beat... Not saying that's a bad thing, but twerking and running are two different things... supposedly. Once the kick starts at 0:16, it's clear that there's a definite marching vibe. The claps that come in at 0:33 help you keep that rhythm of running (or butt shaking, or even head bobbing). Come 1:06 when the song drops, and the culmination of the first minute comes to fruition, there's seemingly no other option than to move to the beat. The combination of the high hats, synths and kick/bass come together to make an undeniably groovy beat. The grooviness gives you the notion of being rejuvenated, ready to tackle whatever is thrown at you with gusto and vigour. You may think that this is a fitting track to end the final act, or even the album, but in some ways, there is still a sense of fulfilment missing - this leads us to the final track; 'Yesterday I Was Out Of Control'. This track is a wonderful ending to the 10 track album. It doesn't fit in with the three 'Acts' that the album can be seen to be divided into, in fact, it's almost as if the other nine tracks were the tracks of 'Yesterday' and the final track is a memoir. A memoir of the chaos, progression and emotion. There's no definitive drop in the track, it's simply a recap of the previous tracks. It is an amalgamation of sounds to relive the journey you've been on, there as a reminder that whatever may have happened in the past, you were (or weren't) in control of what was happening, but at the end of it all, you can reflect on what happened and always put your best foot forward.
