Skin (Flume)

Purely based on the fact that this is one of the few records that can bring a wonky, almost experimental sound to shake the commercial airwaves, "Skin" is already a record of note.

Arguably his most successful album, the appeal of "Skin" comes from Flume's distinct style itself. Residing quite decidedly in the realm of future bass, with big trap subs and bigger supersaw melodies complemented by some well-placed drumwork, Flume constructs a sheet of noise that, atmospherically, acts surprisingly sensible compared to his wonky beatwork - a wonky beatwork driven by strong, heavy-handed snares and detailed complementary drums to create complex and somewhat offbeat rhythms. Instrumental cuts like "Wall Fuck" and "3", or even the album opener "Helix", are perhaps most representative of this lopsided style, and, at any rate, it seems unlikely that tracks like these could even begin to penetrate mainstream circles. Yet "Skin" was a resounding success. Surely, then, Flume's sophomore album is much like a testament to his ability to experiment in such a way that it appeals to a massive audience, yet continues to sound somewhat niche in its execution. And, indeed, that proves true. Over his wonky beats sing commercially respected vocalists like Tove Lo and AlunaGeorge, and the tracks begin to mellow out, growing from borderline abrasive, metallic future bass drops to full-scale atmospheres viable for a variety of appealing cuts, from faster pop-rap verses to wistful vocal cuts all spearheaded by the lush production and echoey drumwork. Unfortunately, as far as vocals go, their variety is their only strength. That is to say, most of the vocals present on this record are a little hit-or-miss, in particular the pop-rap-leaning ones. Though Flume does a good job at complementing whatever vocalist takes the reigns of any given track, those vocals are often at risk at sounding overly dramatic or a little tired, and occasionally also poorly written and composed. And Flume doesn't really bring much variety to his production, either - though I'd argue that "Skin" has a distinct production signature in the grander scheme of the industry, the future bass fails to distinguish itself between tracks, leaving this record sounding a little repetitive. Whilst Flume does a good job at bringing his wonky, experimental sound to a commercial audience, he doesn't quite do enough to solidify the album itself.

As with every album, there are some strong tracks and some weak ones, but "Skin" spreads itself too thin. The high points of its unique appeal lock horns with the low points of its repetitiveness and, ultimately, this is a record that finds itself serviceable when it should have been groundbreaking. Still, Flume is an artist who's matured well and who is easily recognisable, and "Skin" is certainly a record that should be appreciated.