Flume’s Blinding Sound
There’s no gentle way to put it. Flume will overwhelm your senses. He will overwhelm them until you are barely able to discern reality, through an intoxicatingly intricate assault of multicolor lights carefully synchronized to deep, hypnotic, and highly addictive beats. Exhibit A • The Mayan Theater for Night 12 of Red Bull Sound Select’s 30 Days in LA. It all started innocently enough, bright neon buzzing in anticipation, booze flowing freely, bodies half-filling the floor as Taskforce mans his laptop like a battle station. Just another normal Thursday in November. You move past the winding restroom lines and wait impatiently for an always venue appropriate vodka & red bull while Toronto’s River Tiber takes the stage.
HOLIDAY RECIPE // vodka & red bull (OG)
2oz vodka 1 can red bull {250ml; full sugar}
Pour. Drink. Repeat.
His music is a welcome escape from the madness. Mellow beats, down-tempo rhythm & blues (almost), boasting good looks unheard of since boy-bands of yore, you forget that there are thousands of warm bodies around you. Bathroom break #2: the awkwardness of forced interaction with drunk people who would happily stab you for your place in line. You wait— it all seems quiet for a second and then: fog, a beam of purple light, and a constellation of white projecting from a hollow chrome octagon. Harley Streten, aka Flume, the Sydney-born electronic musician and producer whose world-celebrated collaborations include Chet Faker, Moon Holiday, Jezzabell Doran, and (wait for it) Mike Snow’s Andrew Wyatt, takes over. Too late for playing it cool. Your body reverberates and moves along to the beat of Drop the Game, Insane, and the recently released Some Minds featuring a surprise guest appearance by, you guessed it, Andrew Wyatt. Time stands still, and music becomes the great equalizer for. Your senses are overwhelmed. You are not a person. None of us are. Just music and light.