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How’s the European tour going?

It’s been great, and really surprising to get this kind of response without the album, Flume, even being released over here yet. I’m really enjoying it and can’t wait to see where it goes. 

How do you try to make each of your live shows different?

I do play the bigger songs and play to the crowd, but I like to be able to vary it, too, like sometimes going with a more chilled-out, beats-y route instead of the party vibe.  

How do you feel about the London show being upgraded and selling out ...

It’s great, and it’s a big thing for me. I played Dublin [on Jan 16], which is one-fifth the size of Sydney, yet there were 750 people in this room to see the show. It was mind-blowing.

How do you find mixing festival shows with intimate club performances?

 It can be quite odd. I don’t have a huge back catalogue to pull from, like an act like Radiohead do, so I mostly go for more of a party thing at the clubs.

In Australia I have done a huge amount of shows in a short period of time and I am enjoying the festival thing right now. 

How is it that you started making music so early, from the age of 13?

It started when I went shopping with my dad at the supermarket. This cereal, Nutri-Grain, had a music programme advertisement, so we ended up getting that, taking it home and installing it.

The idea of having drums on one track and building it up through different layers kind of blew my mind.

Since then I have been writing music – I have updated programmes, though! 

Which artists were a big influence on you back then?

I listen to a lot of genres, but the big three for me were probably early trance music, from the Noughties, the whole electro movement, and then more recently the likes of J Dilla, Flying Lotus, and experimental weird, hip-hop stuff. 

Why did you choose a pseudonym rather than using your own name?

I like to keep my name out of it, in order to be a bit more private, but it doesn’t work – people keep referring to me as Flume, aka Harley Streten.

It hasn’t worked at all! For me, though, when I see a name, like Flume, that’s just one word, it is much more appealing. 

It keeps the mystery. A name isn’t immediately identified with a genre, it becomes synonymous with the music ...

Exactly, and if I do it under my own name I’d feel more pushed to put my face on album covers and things like that. 



Interview: Sydney-based beat-maker Flume on cereal inspiration, sleep deprivation and experiencing snow for the first time
Digital Mag

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