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“I was getting bored of the show, standing there twiddling knobs, putting my hands up,” he says. The show caught headlines for bizarre on-stage antics, like when Streten spent a few minutes potting some house plants, only to smash the pots a moment later. “Rushing Back” was released in September, just in time for a surreal live performance at Red Rocks Amphitheater in Colorado. The Nissan reappears in Flume’s “Rushing Back” music video, a stand-alone song not included on the mixtape featuring Vera Blue. When Jonathan told him what we were going to do with it, he almost didn’t sell it to him.” It was this beautiful, red car, the classic look. He’d looked after it so well, and all the interiors were custom. “It was just working, like a 50/50 kind of thing whether it was going to start. “We were just nerding out about cars, and we wanted to get that one,” he says.

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The 42-minute epic brings the full mixtape’s experimental mood to life in brilliant color as Streten explores giant sand dunes, salt flats and other “alien-looking landscapes” in a meme-worthy blue robe and patchwork painted, Sharpie-colored Nissan 300ZX. I saw this silhouette walk over my chest, and it was this huge spider. I was on my iPhone, scrolling on Instagram as you do. I vividly remember laying in bed one night after shooting. “We actually were staying in some seriously remote locations,” he says, “Lots of snakes, lots of spiders, lots of things that can kill you in general.

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He’d teamed with Skin cover artist Jonathan Zawada on a seven-day shoot that saw the pair explore the beautiful wilderness of Austalia’s southwest coast. There was nothing casual about the accompanying visualizer, though. In the spirit of keeping things casual, Streten dropped Hi This is Flume with no build-up other than a teaser tweet in March of 2019.

A remix of Sophie’s “Is It Cold In The Water,” from her Grammy-nominated debut album, is the only non-original piece.įlume Releases 'When Everything Was New' Documentary on YouTube: Watch Streten weaved together bits and pieces of rhythms and noise, striving not for perfection but rather to embrace “some grit and dirt.” Usually the type to insist on doing everything himself, he worked on a few cuts alongside respected peers Eprom and Sophie, both of whom champion a glitched-out, experimental sound whose influence is felt throughout the mixtape. He says his first two albums were slaves to a “grand vision.” Hi This if Flume became an exercise in letting go. Despite 16 of its 17 songs being entirely original material, he called Hi This is Flume a “mixtape” to destress the creative process. So, he gave up on the idea of an album altogether and tricked himself into making it fun. “I had this anxious energy about ‘Is it as good as it can be?’”

“I actually wasn’t enjoying doing the music because I was laboring over it so much,” he says. The idea of embarking on another album campaign left him “a bit freaked out” and “scarred.” Streten supported Skin with two world tours and granted “a billion interviews every day,” the burden of which can be felt in the Hi This is Flume intro, a 30-second collection of radio drops layered into cacophony. Diplo even publicly accused Zedd of ripping it off with his remix of “The Candyman” for an M&Ms ad campaign. Flume’s signature off-center synths began a movement of copy-cats.

Skin topped the Dance/Electronic Album Sales chart, while singles “Never Be Like You” featuring Kai and “Say It” featuring Tove Lo landed the producer his first Hot 100 hits. The 2016 Grammy-winning album pushed Streten to a new realm of international stardom. Flume's 'Hi This Is Flume' Mixtape Is A Wild Fever Dream Of Awesome: Watch