Shaughn Crawford: How did you create the name Flume?įlume: “Flume” is actually the name of a Bon Iver song, but the real reason why I named it Flume was because it’s short and sweet. In 2012, Bon Iver won two Grammys for their second album Bon Iver. In the matter of three years, he has gone from a blossoming beat-maker to one of the top EDM producers in the world.īetween Flume’s jet-setting to shows all over the world, I was able to sneak in a quick chat.Īn indie folk band founded by Justin Vernon, whose acclaimed debut album For Emma, Forever Ago (2007) was recorded during three months in a cabin in Wisconsin. He began making beats and house music, eventually signing with Future Classic in 2011. Harley Streten is the Australian-born artist Flume, whose career started at the age of 13 when he received music making software in a box of cereal. He’ll headline three sold out shows at this venue alone. He maintains his work in advertisements, album artwork, music videos, editorials and documentary projects-explore it here.Ī independent record label, touring agency, and music publisher based in Sydney, Australia.Ī youthful and wide-eyed 22-year-old sits backstage at Club Nokia in Downtown Los Angeles. Shaughn’s work can be seen in several notable publications including Rolling Stone, GQ and SF Magazine. You can find him here.īorn in Oregon, Shaughn Crawford is a Los Angeles-based photographer who studied at the Academy of Art University in San Francisco. Flume has since released a Lockjaw EP collaboration with Australian musician Chet Faker, and spent the start of 2014 touring internationally. He has since won numerous awards, among them four ARIA’s including Best Male Artist and Producer of the Year (2013). Recorded in Germany and Austria in January and February 1997 the “b” zone (dedicated to georg graewe)Īll compositions by Frank Gratkowski (Gema) except “Interlude” by Gratkowski, Manderscheid, Hemingway (Gema) Frank gratkowski (alto saxophone, clarinet, bass clarinet)Ĥ.Born in Sydney, Harley Streten is best known as Flume, the electronic artist who released his self–titled 2012 debut album to outstanding critical acclaim. The advantage of maintaining a minimum level of abstraction in the construction of a work of art is that creations that are too concrete, however gripping they may be, will deliver all their facets on one or two showings. Unlike nursery rhymes or top forty tunes, the best artistic creation will repay repeat visitors with new insights. On the other hand, musical compositions can also be too precious. One of the attractions of “Jazz ” for those weaned on “the classics” is that the most cerebral works of Webern, Babbitt (and even Bach) can sometimes get tiring because of those composers’ regular reluctance to display their emotions to the inattentive listener. To put this anatomically, sometimes we want guts along with our medulla oblongatas. “The Flume Factor” is an excellent demonstration that “brainy” music need not to be passionless or dull. Right from the hellishly complicated opening to “Epitasis”, it’s clear that this is an important release. Gerry Hemingway now appears on so many fine disks of this “intellectual-furnace” genre that his appearance seems almost a guarantee of excellence. With Braxton, with Graewe, and now with Gratkowski, Hemingway provides just what is needed to make improvised music timeless: accuracy, fury, imagination, depth, communicative sensibility, and whimsy. (He can also turn in a sensational solo, as he demonstrates on “Feld 1”.) The music on Flume Factor betrays a great deal of “classical” influence, and Gratkowski investigates these rich 20th Century sources thoroughly, not only when he turns to clarinet (as he does on a number of tunes here), but on sax as well. His technique and sound are first rate on all three horns. He doesn’t only write terrific pieces, he performs them brilliantly. Most of the pieces are about as contrapuntal as accomplished three-part writing/improvising can make them. I was reminded a bit of the trio version of Tim Berne’s recent take on Hemphill, but there may actually be more here to repay repeated listenings. There are epicycles in Gratkowski’s counterpoint that put early astronomy to shame. In spite of all the dense complexity and unpredictability, however, there is enough phrase and rhythm repetition here to give all the pieces an outer level of intelligibility. Like his confreres, Manderscheid is highly talented musician.
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