The track progresses with a catchy euphoric vocal before switching into a weighty anthem. “Paradise,” his newest single, showcases a blend of Flux Pavilion’s signature sound with a unique mix of melodic bass and upbeat rhythms. If you want to hear some Flux dubstep, that’s exactly what’s happening.” Just to give you guys a heads up, that’s where I’m at. He continues, “Can’t stop thinking about it, it’s kind of all I want to do. I don’t think there’s a point in my career that I’ve been more excited about dubstep than I am now.” That’s huge praise from someone who was around when it was literally still forming. “There’s so much rad stuff that people are writing. “I think we’re entering into a new age of dubstep,” he said in a recent video. However, we already saw him returning to his Tesla-era sound with his previous single, last year’s “Technicolour Psychic Vision.” Now, we have further confirmation that Flux is definitely returning to dubstep, and it’s because the scene is so strong right now. Throughout the years, Flux has remained a pillar of the dubstep community, even as he transitioned into different material with his latest album. Even before “I Can’t Stop” or his iconic “Gold Dust” remix with Doctor P, I fell in love with the flow from Foreign Beggars, the gritty synths and bass, all of it.
If you’re excited with an idea stick with it.When I first started really digging into dubstep around 2010, one of the first songs that I found was “Lines In Wax” by Flux Pavilion. I eventually went in to his room to listen to what he was making and it was like nothing I was hearing in my head at all! A good lesson there… Go with feeling and take it.
That mad sound was what inspired me to make I Can’t Stop. I could hear this mad melody between what I could hear on the phone and what was coming through the wall. We were chatting to each other on the phone and he was playing music. He was making hip-hop in the room next door. “Another cool thing that happened during this track was when I was talking to my housemate Odjbox. I approach synthesis in the same way and this is the first example of me implementing that technique. So when you’re sitting down to write a score you don’t need to hear how it sounds because you know those combinations work together beautifully. In fact the frequency of a piccolo flute complements an oboe. I’ve studied instrumentation and learnt loads of interesting things for example you’d never put a piccolo flute and standard flute together because they sound horrible together. Like a four-note chord, played on four different synths. That’s my general vibe loads of different sounds coming together. I didn’t want to smash out sounds with no real melody. “I’ve always tried to get notes and melodies into the basses. We got a cool story from him about a few years back. As part of his Around The World In 80 Raves, it was a unique opportunity to experience Flux away from the massive mainstage madness and back in such an intimate party space…Ģ009 all over again: he even did the honours of dropping his gamechanging anthem of the time… And the packed floor roared in response. Throwback to one of our most popular and era-defining uploads: Flux Pavilion – I Can’t Stopįor no other reason but we saw him play last Friday in the cosy confines of The Nest, one of London’s best underground rave dens.
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