It’s hit and miss though – “ Highest Building” is not as catchy or compelling as it needs to be as the record’s opener. “ Hollow” and “ Sirens” are soulful, stuttering singles that are well worth checking out, particularly the latter, where Caroline Polachek’s stunning vocals are constantly juxtaposed against abrasive rhythms and tremolo-filtered leads. “ Escape” also demonstrates that Flume‘s style is not simply split between pop tracks and quirky experiments – the chorus is a catchy, choppy instrumental break, with glitching laser gun synths that entwine with sampled vocals. “ Say Nothing” and “ Escape” are the strongest examples of Flume‘s abstract production choices on anthemic club songs, much like his past turbo-hit “ Never Be Like You”. The record benefits from a wide but consistent sonic palette, but the only thing missing is rapping – instead, most of the guest appearances end up on EDM ballads, which this record has perhaps too many of.
The album contains a smorgasbord of features, giving the microphone to some lesser-known pop acts ( Oklou, MAY-A, Kucka, Quiet Bison, Laurel, Virgen Maria, and Emma Louise) and a few better-known ones ( Damon Albarn and Caroline Polachek). Palaces oozes his signature style – consistently bold production choices and wild synthesizers drenching cutting-edge pop songs and glitchy interludes. Ten years after his first LP, Flume emerges again from the studio.
FLUME FLUME ALBUM SONGS FULL
Whilst some tracks are arguably a bit forgettable, this album is still full of some brilliant moments.“ It hurts to love and leave, I don’t love you lеss.“ The second half of the album is definitely the stronger half, and the disappointing opening album track is definitely made up for with later album tracks like “Go” and “Get U”. Palaces is, overall, a decent album and one that would translate brilliantly to the live space. But then these great moments are broken by tracks like “I Can’t Tell,” which feels dull and unexciting, especially compared to subsequent heavy bass track “Get U.” Tracks “DHLC”, “Go” and “Love Light” are excellent the addictive drops and catchy beats are immediately intriguing and infectious. However, some of the standout moments of the album are when Flume is solo. It’s an effect that feels much more natural and complimentary to the sharp electric sound throughout. In contrast, subsequent tracks “Sirens” and “Hollow” demonstrate a brilliant contrast to the electronic edge of the drops and the smooth vibrato of the vocals.
Opening track “Highest Building” starts off promisingly, but is ultimately let down by the unnatural mash of auto-tuned vocals. This is most notable on title track “Palaces," featuring Damon Albarn, which provides a soft and calming melody to accompany the birds. The album even features bird song recordings which are subtly woven throughout the album and provide an excellent ode to which Flume’s homeland. Palaces is an album centred around Flume’s return to his home of Australia and the iconic natural landscape and biodiversity. It’s full of incredibly sharp hooks and punchy beats, broken with some softer moments in between. These perhaps surprising features contributed to the unique form of this album, which is definitely much stronger in the second half. His first full length album since 2019’s Hi This Is Flume, Palaces has a number of surprising features from big names such as Caroline Polachek and Damon Albarn.
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