Yeah, honestly just d**king around.
That's mostly what I do, just f**king around and it doesn't always work, but when
it does, feels good.
Hey, I'm Flume.
And this is what inspired 'Say It' featuring Tove Lo.
I think with this one it's quite bold and upfront as a pop song.
But I think once the listener kind of leans in, they hear all the intricacies in the production
and kind of just how its structured.
And I think that's a really powerful combination.
Going into a session with Daniel Johns, I actually went up to his place up in Newcastle.
We kind of just set up a little desk and I, plugged into some speakers and we just kind
of danced around the living room.
It was really fun showed him this track and this idea and he was really into it and he
just did a bunch of oohs and ahhs, I kind of like cut them off and stitch them together
and re pitch them and put some distortion on and that's this section in the track.
So I was at a concert at the Hollywood Bowl 808s and Heartbreaks, with Kanye West.
Went and had a drink at a bar off the we heard this song come on over the system.
And it was 'Habits' by Tove Lo.
I just fell in love with it and I wanted to work with her.
She happened to be in LA.
So we got to work in the studio together within like two days or something.
And she was a fan, which was awesome.
So it all just kind of came together last minute.
I did the session with Tove, and it went amazing.
So then I ended up going to Julian Hamilton from The Presets and I was like
Hey I got a bunch of stuff.
Check it out.
What do you think?
So I showed him a bunch of different ideas and that one in particular he was really into
and he's like, he tried some different chords on the bridge, which ended up in the main track.
One trick I like to use with vocalists is I like to set them up with maybe
six to eight tracks.
I just got a really simple beat and some simple chords.
Now when I get them to do is I get them to sing the first thing that comes to their head.
I think what this does is it kind of captures the improvisation the in the moment.
What I do is I capture it all and then I cut it off and transpose it says in the right key
and warp it so it's in the right BPM and bring it into whatever song I'm doing.
And then I've just got all these cool little hooks and I kind of craft little, you know,
chorus melodies and verse melodies and kind of make stuff out of that.
Usually I just start little instrumental ideas and then later down the line, it turns into
something totally different.
What I did was I just did the basic drums and then I re sampled them.
So I made another file with them and then I reversed the whole thing.
Anyway, I put it through a bunch of effects and then I cut it up and that's that like...
Just distorted stereo kind of kick effect.
Man I go deep. It's funny talking about it
because I'm like s**t I really got real deep on these sounds.
Yeah, I was just experimenting I'm like, I want a cool sucking sound so I'd reverse things.
Then what if instead of reversing the kick, I'd reverse the whole drum beat.
Maybe it'll sound cool to like have reverse hits on everything.
Lately I've been doing a lot of stuff just on the spot and it's been it's been working
out so there's really no science.
I always try and boil it down to a pattern or something.
Like over analyze it and try and get it into a box and crack the code but
I still haven't cracked it.