Bars 17-32 (Chorus)įlume’s signature style comes out strong in the chorus.įirst, we hear the downbeat, which features a kick with a trap-esque chant sound. In this case, it’s the addition of elements (strings), the way the vocal is sung and processed, and the quick low-pass filter coming down during the last bar. Note: Notice how there aren’t any risers or snare rolls? You can build tension without them. When Kai sings “Never Be Like You” it’s kind of stressed, which adds tension. The same phrase leads nicely into the chorus at the end of this intro verse.ĭuring the second 8 bars of this section, we hear some strings playing the same chord progression. The bell-like sounds we hear in the pickup continue, but are now sitting on top of a vocal and detuned pad. “In music, an anacrusis (also known as a pickup) is a note or sequence of notes which precedes the first downbeat in a bar in a musical phrase.” Bars 1-16 (Intro/Verse) It’s makes sense to give this its own section of “Pickup” instead of including it in the full structure. But the main elements are there.Īt the start of the song, we hear a collection of atmospheric bell-like sounds that play by for four bars. This is not complete, as I couldn’t have realistically included every little detail. You can check out the Google Sheet here (make a copy of it yourself if you want to edit it) or click the image below to enlarge it. It’s a little bit shorter than normal, but this track is pretty straightforward. In this week’s analysis, we’ll be looking at one of his more recent tracks, Never Be Like You ft. I played it at every gig and everyone else loved it too. I remember the first time hearing Holding On’. But by adding that surprising rhythm track with some pretty abrasive percussion, then throwing those swirling synths on top, he produced a song that only got more powerful over repeated listens.He’s young, he’s a genius, and he’s a pioneer. He adds, “The melody line alone was strong and the lyrics were heartfelt without being clichéd. “It’s rare that a song released back in January will end up in the Hottest 100, let alone at the very top, but ‘Never Be Like You’ just kept growing,” says triple j’s music director Richard Kingsmill of the song. The producer also bagged eight categories at last year’s ARIA Awards, including album of the year for Skin and best pop and best dance release for his newly-crowned Hottest 100 champ. Flume and Sia were the only Australian acts to crack the U.S. 60 on Billboard’s Hot 100 Year-End Chart. The song finished the year as the year’s fourth best-seller in the market, with four-times platinum sales (280,000 units), and managed No. 1 on Australia’s weekly sales chart last February (the first singles chart-topper for his label Future Classic) and finished as the most popular single Down Under in the first half of 2016, based on radio plays, streams and sales. The Sydney-raised electronic music producer (real name Harley Streten) had a bonafide hit on his hands with “Never Be Like You” well before its Hottest 100 victory. Flume, Troye Sivan, Violent Soho Rule 2016 ARIA Awards
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