The two also make an incredible pair. Flume’s electronic synthesizers pair well with Faker’s wobbly, broken-sounding voice and result in something that sounds more like an amalgamation of both of their styles than it does the sound of Faker or Flume alone.

While Flume has a great sense of beat and rhythm, and is more than willing to break tradition to try something new, on Lockjaw he breaks that tradition to cater more towards Faker’s voice. And Faker stretches himself to match Flume’s pop sensibilities.

Hindsight is 20/20, of course. What’s most interesting about Lockjaw is what it says about Faker’s career progression: the EP nearly perfectly bridges his styles as he moved from Thinking With Textures to some of Built On Glass’s more evident pop tonalities. It makes you wonder what Flume’s sophomore record Skin, due at some point this year, is going to sound like.

At three tracks long, Lockjaw is short and sweet, and easily digestible. Putting it on repeat reveals a lot of fine details and incredible production value: only Flume and Chet Faker could make it sound as if the music you’re hearing is coming from above and below you, as well as the left and right channels of your stereo speakers.

Lockjaw, like everything these two artists make, is an experience.

The post Flume & Chet Faker: Lockjaw (EP) appeared first on Unsung Sundays.

Chet’s a master of blending jazz, blues, and a hint of electronic experimentation into an enjoyable cocktail that goes down smooth. His voice has tons of soul, belying his years — he’s not even thirty. What’s most impressive is that Built on Glass is his debut feature-length record, which — considering his vast array of musical influences — is shocking.

The opening track, Release Your Problems, is a great introduction to the record — heavy-hitting, but still catchy — but I could ultimately write a long essay about this album’s many successes. The record is neatly divided by a vocal track simply titled / , but the first half is sprinkled with great songs like Gold and To Me, which has as lovely saxophone emphasis.

The second half of the record really shines. Blush is a stunner. My favourite track off any of the records featured this week, though, is Cigarettes & Loneliness, which is a lush and beautiful look at the most difficult and sad of feelings. Although it’s the least likely to get radio play, Cigarettes & Loneliness feels like it’s really the pivot point of the entire record. Steeped in sadness and buried in synth tones, this is Faker at his most experimental and exploratory. It’s an immensely rewarding listen.

One album in, and it already feels like Chet Faker is one of the genre’s most eclectic and interesting artists. Built on Glass is a stunner, and one that doesn’t feel like it could possibly shatter.

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