In July 2020, the pair married in a whirlwind Vegas ceremony. He also serves as the muse for her most recent release, “I like u.” Her husband, creative director Charlie Twaddle, was born and raised in New Zealand. Afterwards, she’ll head across the ditch for a headline show in Auckland, which is something of a coincidental, full-circle moment. This week, Nilsson lands in Australia, with her tour taking her to Melbourne, Adelaide, Sydney and Byron Bay, for the nation’s famous Splendour in the Grass festival. It’s more just like it feels good to let more of those feelings out.” “It’s just very cathartic for me … I’m not like thrown back into that emotional state. Though sometimes she chooses not to play “Grapefruit” - “When it’s like a daytime set, and it’s sunny, the crowd is wild,” she says, “it can feel kind of like an emotional shock, sometimes for me or the crowd,” - when she does, the experience is a positive one. Since the release of Dirt Femme, Nilsson has been touring. On “Grapefruit,” Nilsson’s human side is revealed. She is the complex euphoria intended to be evoked by electronic music, personified. She creates music that sounds as though it’s been pulled from a folkloric nightclub she lives in the hills in LA with a collective of creatives and she dresses like a sci-fi princess. I wrote them with the same impulse, but then I did have time to kind of go back and be like, ‘How can I how phrase this in a different way?’ ‘This needs to be even more honest.’ ‘This needs to be more imagery than just the blunt sentence that I had to begin with.'”Īt times, it would be easy to wonder if Nilsson is real. “I think that’s what kind of maybe comes through songs. “Normally, you just kind of blurt things out sometimes to strangers like, ‘Oh, that was a lot of sharing on my end,’ and you haven’t had time to reflect on those feelings at all … You haven’t thought of why feeling this way.”įinally, after a decade of trying to write the song, the global pandemic offered ample time to reflect, seeing her write across three years spent between Los Angeles and Torekov - a small Swedish fishing village. “ past records have been all very personal, very vulnerable,” Nilsson tells me. Upon release last October, the song became one of Dirt Femme’s top tracks. On the other, you almost want to run around your lounge room and dance on the couch like you’re in a Sia music video. On one hand, you’re left chilled, confronted by the lyrics and left to sit with their meaning. While not necessarily dancefloor-oriented, Flume's debut certainly fits into a post-2000s club vibe and DJ culture that borrows liberally, and often with inspired aplomb, from cut-and-paste hip-hop, avant-garde electronic composition, ambient pop, and contemporary R&B.The song is about her eating disorder, seeing her reflect on the emotional struggle she faced in her youth - and how it continues to impact her - with the omniscience of hindsight. On the contrary, Flume has a knack for layering beats, instruments, samples, and vocals in a way that grabs your attention and creates an evocative, somewhat hypnotic mood. Which isn't to say these aren't catchy recordings. More often than not, bits of melodies and lyrics pop up here and there, but tracks never quite gel into a hook in any traditional sense (although a few, like "Bring You Down," have a Dido-like trip-hop/dubstep quality). Working with a bevy of artists including George Maple, Moon Holiday, Jezzabell Doran, Chet Faker, and New York rapper T-Shirt, Flume crafts tracks that are more like soundscapes than actual songs. The debut album from Australian electronic musician/producer Flume, aka Harley Streten, Flume is an atmospheric, experimental mix of electronic dance-oriented sounds that touches upon aspects of R&B, indie rock, and pop.
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