Those might be my two favourite things.” Image: Zac Bayly for MusicTechīuried in the foliage of Palaces’ meticulously crafted sonics are ambient sounds of Flume’s homeland. And then the Prophet X, which is not just a synth, it’s a ROMpler – you’ve got your strings and voices and all that. “Everything about it: the sounds, the fact it has no effects, it’s just pure synth I adore that. “The Prophet-10 is the most beautiful synth,” he continues. I’ll record myself messing around for 20 minutes then I’ll use software to cut up the sounds and warp them and take it from there. I treat my modular synths like a guitar pedal effects rack. “I have modules that do things I can’t do on a computer. “I’ve gone down the modular hole,” he says, with a laugh. It’s only recently that he started experimenting with hardware instruments. Harley happened across plenty of DAWs and plug-ins to help him build on his Music 2000 masterpieces. In the 2000s and early 2010s, online file-sharing was rife and software piracy was near impossible to prevent. Harley mastered his craft during a worrying time for software developers. I’d come home from school and hop on my cracked DAW. I came back a week later and he gave me a demo CD of his music and another CD. “He was like, ‘If you want to come back next week, I’ll burn you a CD-ROM full of cracked music-making software’. “I went to a video game store and asked, ‘Do you have any music-making games?’ The guy recommended eJay,” he tells us, the 1997 music game for Microsoft Windows. The game whet his appetite for beatmaking. You can make music on PlayStation?’” he says. Harley started producing electronic music at the age of 10 after discovering the 1999 music-making PlayStation game, Music 2000. That was a huge moment to be able to say, ‘I quit’.” “And then, when my first EP came out as Flume – I was making other music before that but more clubby stuff – the ball started rolling, and I started to get gigs. “I used to work at Hard Rock Cafe as a waiter and I fucking hated that job so much,” he continues. “The first moment of being able to fully support myself, financially, from just making music was very cool,” he says. Instead, it’s when he realised that Flume was a sustainable full-time project. Harley’s most memorable moment of his 11-year-long career isn’t a release or award. “When I feel like I’ve got a strong body of work, I’ll just put it out.” “No, I just make stuff and it comes out when it comes out,” he says. Though Palaces comes 10 years after his debut, Harley isn’t celebrating this anniversary with a third album. By the time his second album, Skin, dropped in 2016 with features from the likes of Vince Staples, Beck and AlunaGeorge, the scene had their ears locked on Flume’s frenzied productions.
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