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Why you’ll have to wait for the next Flight Facilities album


Nergal
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WELCOME to Flute Facilities.

Yes that’s a flute right at the tail end of Flight Facilities’ latest single Need You, getting particularly pan-pipey just as the curtain falls.
You may also notice the distinct sound of a ring pull on a can being opened on the new track.

“We’ve always been fans of revamping sounds that may be on the border of not being cool anymore and persuading pop culture to accept them again,” Jimmy Lyell of Flight Facilities notes.

“It used to be saxophone, but Chet Faker made that cool,” his bandmate Hugo Gruzman adds. “So we went with flute and a can opening.”

Four years after their debut album Down To Earth (which spawned two symphony concerts which spawned a live orchestral album which won them a classical music ARIA) the Sydney electronic duo have now released three singles in nine months.

Arty Boy lodged in Triple J’s Hottest 100, followed by instant-classic Stranded and now Need You.

And their 2012 single Clair De Lune continues to be heard on a national Telstra ad campaign.

If you’d think a second Flight Facilities album is imminent, you’d be mistaken.

With streaming services changing the musical landscape, the pair are reverting to what worked first time around — releasing a string of singles.

“Basically we’ve got enough music for an album to press ‘go’ but we want to go back to our roots and do the things that got us to the place we’re at now, which is singles,” Lyell says.

“Get back to a steady stream of interesting music that people are hopefully following. If that works, and one (single) kicks early, we’ve got some music in the bank to release. At the moment we’re surveying the landscape a bit. It’s an interesting time. All we want to do is service our fans and release the music we want to release. We’ve got all the bits in the background, we’re just holding off. There really isn’t any rush despite what everyone tells you. We’ve never been rushed in our careers.”

Gruzman said the pair have watched new albums be relegated to appearing on ‘new music’ playlists.

“It’s like going back to the mix tape culture. Everyone’s albums are pillaged on streaming services to make playlists. Someone can spend a year or two or five working on an album and then someone take two songs from it to put on a playlist next to Drake and Beyonce.”

“You should be able to cherry pick though,” Lyell adds. “When the need comes for a complete record I’m sure we’ll feel it and be able to act accordingly.”

The pair reveal they have recorded a new track with local folk-based musician Dustin Tebbutt.

“He’s brought some more acoustic things to what we do, balancing what we do with what he does,” Lyell says. “But then there’s some way more electronic stuff in some of the other new material.”

Need You continues their run of guest vocalists — this time Kiwi singer Nika, the younger sister of Caleb and Georgia Nott of Broods (who sang on previous release Stranded).

“There’s a younger sibling too,” Gruzman says. “We should try and get them all one one song. Imagine the harmonies.”

Where Stranded was inspired by their orchestral work, Need You is a deliberate throwback to the simplicity of their 2010 debut Crave You, which has now had over 80 million streams on Spotify alone. Kylie Minogue recorded an acoustic version of it to close Down to Earth.

“When we were initially making music we were stabbing in the dark,” Gruzman says.

“For Need You we were trying to turn off a lot of what we learnt and went back to instincts, which was a nice way to write again. The less we thought about the song was the final goal we were trying to achieve.”

“We wanted something under produced to battle with all the over production in what you hear today,” Lyell says. “That’s where we came from but on a more naive level when we made Crave You. We had no idea it would sound similar, but we haven’t done a quick in and out simple pop song like this since Crave You. It interesting, especially after Stranded which was such a left turn for us.”

“We wanted to avoid becoming the adult contemporary orchestral act,” Gruzman adds. “It’s nice to get to dabble in that though.”

While Stranded cruelly missed the Hottest 100, the pair think the song still there’s life in the song.

“We weren’t touring when we released it,” Gruzman says. “More and more these days the best barometer to gauge the reaction to a song is to play a show. Because we haven’t done any shows for a while there’s been this weird internal existential crisis — I wonder if anyone likes this?

“But we think touring will give it a second life. We’re super proud of that song, it’ll be special for us forever. Looking at the figures it’s still coming in waves of people discovering it, which was pretty much what we were after.”

They’ll get the chance to test the waters when they return to the road for Groovin’ the Moo regional gigs and “intimate” city side shows (most of which sold out straight away — they plan more shows later this year).

It’ll be a mix of the DJ sets they started off doing, with live instrumentation and guest vocalists and potentially some brand new songs.

“Our back-catalogue has grown so much we have to pick and choose which songs we play rather than just cramming them all in,” Lyell says.

“We’re just in the process of working out how the live show will go. We’ve left it all pretty late but pressure makes diamonds in Flight Facilities land.”

They’ve made a standby video for Need You, featuring vintage Arnie footage, and that may be it for visuals for the single.

“We got a great video made for Stranded,” Gruzman says. “The people into videos saw it and loved it, but people don’t watch video shows on TV anymore, You Tube has severely fallen in stats lately, it’s a weird time. Spending $12,000 on a video, and that’s cheap, when you’re making a few cents a stream ...
“Everyone has seen our previous content, we love doing videos and visuals, it’s very important to us, but we’re just sitting back and watching what is going on, If Need You were to take off we’d spring into action, I’ve got a video treatment sitting in my inbox! But people seem to be using Spotify like they did You Tube. Everything is changing, if you’re 12 months behind you’re a lifetime behind.”

While some musicians complain about streaming royalty rates, Flight Facilities are not among them.

“We’ll never debate over royalty rates until they get to zero,” Lyell says. “We entered into the music business with an attitude of you don’t make money from song sales, the songs are a business card for a gig.”

Gruzman: “Napster came out when we were 12 or 13, none of that stuff is foreign to us, the concept of people downloading for free we grew up with.”

Lyell: “I did it. I’m absolutely guilty. It paved the way for me to be able to DJ and find new music. If it’s not readily available go download it for free, I don’t give a shit! It’s up to the artist to make it readily available, I think if it’s not it’s their fault. That’s my personal opinion. And with Spotify now everything is readily available.”

If you’re wondering which Flight Facilities member runs their Twitter page, Gruzman has admitted it’s his domain — and he’s been burnt in the past.

“We’re careful,” Gruzman says. “There are some times I’ll make a joke about birds or something that you think cannot possibly offend anyone. But it does. You have to account for the easily upset people. So it’s carefully edited.”

Lyell: “If Hugo says something that ruffles feathers we’re gonna stand behind him. But I think some people need a good feather ruffling.”
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