![]() In a reasonably subdued evening, frontman Eamon Sandwith accepted in typically deadpan fashion. The Chats won their first Apra for the punchy track Struck By Lighting, which took home most performed rock work – following an Aria win last year for their gonzo punk album, Get Fucked. ![]() It’s always my pleasure being on stage with you … So I say peace and love, peace and love to Australia!” And you’re a great member of the Ringo and the All-Starr Band. Yes, it’s Ringo here,” said Starr in a video which opened with a 10-second drum riff. The Ted Albert award for outstanding services to Australian music went jointly to the late tour promoter Colleen Ironside and Men at Work’s Colin Hay, whose particularly chaotic set of tributes included messages from actor Zach Braff, a long-time collaborator, as well as Ringo Starr. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning That track is still paying dividends: it won Howard both most performed Australian work and most performed pop work on Thursday night. Last year he won three awards that included song of the year for his Justin Bieber collaboration, Stay. As he told Apple Music about his choice of collaborators, “I want to find people who are doing something different and open to working with different sounds and unconventional beats-just open-minded people who have something to say.The Kid Laroi, real name Charlton Howard, also continued his winning streak at the Apras. Wherever electronic music is right now, you can be sure that whatever Flume is cooking up in his studio is two steps ahead. On the 2019 mixtape Hi This Is Flume, he dusted off his most experimental beats yet while linking up with slowthai, SOPHIE and JPEGMAFIA. His twisted trap drums and spacious atmospheres proved the perfect foil for vocalists like Vic Mensa, Tove Lo and Little Dragon, leading to production work for Lorde and Vince Staples. With 2016’s Skin, he showed his growth with trickier beats and more innovative sound-sculpting, without forgetting about the importance of a perfect hook (exhibit A: “Never Be Like You”, with a swoon-worthy topline from the Toronto singer kai). Those head-nodding beats and hazy effects quickly became staples on chill playlists, but Flume was already lining up his next wave. ![]() The sedate vibe was the flip side of EDM’s peak-time energy, but his slippery synths and ribbon-like vocal edits showed kinship with dubstep a sound many would soon call “future bass” was born. The following year, his self-titled debut album established the outline of his nascent sound, pairing spring-loaded drum programming with dreamily chopped-up samples. A decade later, the deliriously laidback vibe of his debut single, “Sleepless”, got him signed to Australia’s Future Classic. ![]() In a way, it did crack a code: To see music’s inner workings laid bare came as a revelation to young Streten. The free gift wasn’t a secret decoder ring, but a CD with rudimentary production software. Streten got his start making music when he was 10 or 11, when his dad bought him a box of cereal. In the process, he helped pioneer a whole new dimension of chill. In the early 2010s, just as main-stage EDM was pushing tempos and decibels into the red, Flume-aka Harley Streten, born in 1991-went in the opposite direction, delving into hip-hop beats and airy synths. When he was just 20 years old, Sydney producer Flume leveraged his easygoing surfer attitude into single-handedly changing the course of electronic music’s evolution.
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