Track 1 Lyrics – Flume & JPEGMAFIA

Track 1 Lyrics by Flume & JPEGMAFIA is a new english song by Flume & JPEGMAFIA. The song is released on Flume’s official YouTube channel, written by Flume & JPEGMAFIA, produced by Flume & JPEGMAFIA, and from the album We Live In A Society, offering listeners a raw, experimental, and often comedic glimpse into a chaotic studio session. This unconventional track blends spoken word, satire, and glitchy electronic textures, capturing the unpredictable synergy between the two artists.

The song centers around a creatively unfiltered exchange between Flume and JPEGMAFIA, using a fictional studio session as a narrative device. It’s a humorous, meta-commentary on the collaborative process, music production, and creative tension. Much of the song is delivered through candid, off-the-cuff dialogue, revealing JPEGMAFIA’s brutally honest feedback as Flume cycles through different beats. The second part of the track breaks into a more polished and melodic drop, contrasting the chaotic first half with a haunting refrain about emotional ambiguity, suggesting a deeper underlying message about artistic identity and self-doubt.

Track 1 Details

Song	Track 1
Album	We Live In A Society
Artists	Flume & JPEGMAFIA
Written By	Flume & JPEGMAFIA
Produced By	Flume & JPEGMAFIA
Label	Flume
Language	English
Released Date	Apr 24, 2025

Track 1 Lyrics

[Spoken: Flume & JPEGMAFIA]
Hold up, can you hear me?
Yeah
Okay, cool, cool
Um, I’m just gonna play a bunch of stuff. You let me know if you like anything

[Spoken: JPEGMAFIA & Flume]
Um, okay
What the f—, hold on man, calm down
Whatever that noise you just played right there
That scared the shit out of me (Okay)
I want something (Alright, lo—), that’s—
I’ll keep it simple
A kick and a clap, a kick and a clap

[Spoken: JPEGMAFIA]
Yeah
A kick and a clap like that, like that
Mm, yeah, there you go
That’s that shit right there, I like that man, don’t fuck it up
Uh, mm, mm, uh, uh, uh, okay, yeah, yeah
I like that, I like, I like, I like that
I do not like that, I don’t like that at all
I lied, I lied on wax to make you feel better
But, I need something better than that
Ayy, ayy, ayy, ayy, ayy, okay, okay, okay, okay, uh
This the same ass beat as the last one you played
Dog, how the fuck you get paid?
Ayy, play something else today

[Spoken: Flume]
Alright, alright, alright, alright, alright, uh, uh

[Spoken: JPEGMAFIA & Flume]
Nigga, that was the same beat
Alright, yeah, yeah, I just thought maybe if I expanded on it, you’d be into it
No (laughs)
Alright, here’s something different
Here’s something different, here’s something different
Okay, what you got?

[Spoken: JPEGMAFIA]
This beat right here is trash
This beat right here is ass
I wanna put that beat in a bag
And put the beat outside in the trash, uh

[Spoken: Flume]
Alright, I get it

[Spoken: JPEGMAFIA & Flume]
I hope you know how I feel about that (I, I, well yeah)
I’m bein’ passive aggressive but—
I mean, it was aggressive-aggressive
Surely, surely (Bro), surely, there’s something in there

[Spoken: JPEGMAFIA]
Y-you-you know what’s crazy, it’s like they’re almost good
I’m-I’m not like mad at you for makin’ this shit, I’m just extremely disappointed that you would play this w—
Wait, wait, wait, wait
This one right here whack too
But I’ma pretend ’cause I like you
You play one more whack shit, I’ma fight you
C’mon Flume, this ain’t like you

[Spoken: Flume]
Fuckin’ hell man, alright

[Spoken: JPEGMAFIA & Flume]
How the fuck did you even make that?
I like, I know, I appreciate your honesty, it’s just uh—
What instrument is that nigga?
(laughs)
It’s tough to hear
Gimme that—
You big daddy Flume, dog
I’m tryna give you the fucking—
Where’s the shit?

[Spoken: JPEGMAFIA]
Ooh, ooh, ooh
Ooh, ooh, ooh, ooh
This a seven, this a seven
It’s a four out of ten
Damn, that’s not that good either
I’m not gon’ lie, I will not lie to you man
You are a white man and I will tell you the truth
I l—, ah, what the fuck?
Spooky ass clown pussy music
I can’t believe this nigga Flume played a [flute?]
I can’t believe you puttin’ me through this

[Spoken: Flume]
Alright, I got, I got, I got one more, I got one more
I get it, I get it, I get it, I get that—, I get it, this session’s not goin’ well

[Spoken: JPEGMAFIA, Flume, Both]
I don’t know if this is workin’ out, bro (One more)
I’m gonna—, I might have to, I might have to call Fred again.. bro
(laughs)
I can’t, I can’t, I don’t know about this one
I don’t know about this shit dog
I got, I got, I got one more

[Spoken: JPEGMAFIA]
Lemme—, alright
Mm, ayy, woah
This one right here’s alright
This, this, this is light
Ooh, this, this one here right
This one right here I like, this, this
Now, we’re gettin’ somewhere bro
You must’ve had your Vegemite this morning, didn’t you?
Hold up, let this one ride dog, don’t fuck this one up
I like this one, I like this one, hold up
Ayy, ayy, ayy, ayy, clap it up

[Part II]

[Drop]
How it’s supposed to feel
How it’s supposed to feel
Don’t know if I ever been, tryna [write down?]
How it’s supposed to feel
Don’t know if I ever been, tryna [write down?]
How it’s supposed to feel

[Build]
Don’t know if I ever been, tryna [write down?]
How it’s supposed to feel
Don’t know if I ever been, tryna [write down?]
How it’s supposed to feel

[Drop]
Don’t know if I ever been, tryna [write down?]
How it’s supposed to feel
Don’t know if I ever been, tryna [write down?]
How it’s supposed to feel
Don’t know if I ever been, tryna [write down?]
How it’s supposed to feel
Don’t know if I ever been, tryna [write down?]
How it’s supposed to feel

[Outro]
Don’t know if I ever been, tryna [write down?]
Don’t know if I ever been, tryna [write down?]

Track 1 Lyrics Meaning

[Spoken: Flume & JPEGMAFIA]
This section introduces the casual, unfiltered tone of the song as Flume checks in with JPEGMAFIA at the beginning of the session. It sets up the improvisational nature of what follows, framing the track not as a polished musical piece but as a behind-the-scenes glimpse into their creative dynamic. The informal back-and-forth helps ground the listener in the spontaneous nature of their collaboration.

[Spoken: JPEGMAFIA & Flume]
Here, JPEGMAFIA begins reacting to the first beat Flume plays, mixing humor with critique. His exaggerated response, including mock fear and frustration, reflects both creative friction and the freedom of unfiltered expression. The demand for simplicity—“a kick and a clap”—underscores his desire for something raw and minimal, contrasting Flume’s more layered production style.

[Spoken: JPEGMAFIA]
JPEGMAFIA builds on the prior section by encouraging Flume to stick with a simple rhythmic base, then quickly contradicts himself, flipping between approval and disapproval. This back-and-forth conveys the unpredictable and often volatile nature of creative feedback. His exaggerated reactions are laced with sarcasm, highlighting the absurdity and challenge of trying to satisfy artistic expectations during a session.

[Spoken: Flume]
Flume briefly pushes back, defending his creative process while trying to adapt to JPEGMAFIA’s feedback. His repeated “alright” and “uh” indicate frustration but also an attempt to remain open to collaboration. The tone suggests a balancing act between compromise and artistic vision.

[Spoken: JPEGMAFIA & Flume]
In this exchange, JPEGMAFIA calls out Flume for recycling a previous beat. Flume’s defense that he was expanding on it is dismissed, highlighting the tension between experimentation and redundancy. The moment captures the discomfort that arises when artistic risks aren’t well-received and illustrates how quickly feedback in a session can turn from playful to confrontational.

[Spoken: JPEGMAFIA]
This segment pushes the humor further as JPEGMAFIA ridicules another beat with a mocking freestyle. His use of rhyme and absurdity (“put that beat in a bag / and put the beat outside in the trash”) critiques the beat while showcasing his improvisational flair. The delivery maintains the track’s chaotic energy and irreverent tone.

[Spoken: Flume]
Flume acknowledges JPEGMAFIA’s criticism and takes it in stride. His short response—“Alright, I get it”—demonstrates a moment of resigned acceptance, which contrasts JPEGMAFIA’s intense reaction. It reflects the exhaustion that can come from repeated creative rejection.

[Spoken: JPEGMAFIA & Flume]
This section explores JPEGMAFIA’s passive-aggressive critique, evolving into full-blown aggression. The honesty in his commentary is undercut by the humor of his delivery, balancing personal disappointment with comical overreaction. Flume responds with tired understanding, keeping the dynamic grounded in a strange camaraderie.

[Spoken: JPEGMAFIA]
JPEGMAFIA’s commentary intensifies, expressing disappointment rather than anger. He continues to ridicule each beat with theatrical disbelief while simultaneously softening the blow with humor. Lines like “spooky ass clown pussy music” illustrate his blend of absurdity and honesty, exposing the vulnerable side of collaborative disappointment.

[Spoken: Flume]
Flume offers one last attempt to save the session, repeating “I get it” to show his weariness and awareness of how the session has spiraled. His tone is both hopeful and defeated, emphasizing the emotional highs and lows of the creative process.

[Spoken: JPEGMAFIA, Flume, Both]
This moment acts as a climactic turning point where both artists question the viability of their collaboration. JPEGMAFIA jokes about calling another producer (Fred again..) in a moment that teeters between jest and genuine frustration. Flume insists on giving it one more try, showing persistence in the face of comedic chaos.

[Spoken: JPEGMAFIA]
Finally, JPEGMAFIA responds positively to a beat, indicating a breakthrough in the session. His approval is playful but more sincere, shifting the energy from rejection to appreciation. The reference to Vegemite humorously nods to Flume’s Australian background, lightening the mood and marking a tonal shift toward mutual understanding.

[Part II]
This section dramatically departs from the spoken improvisation and delivers a structured, emotive hook. Repeating “how it’s supposed to feel,” the line becomes a mantra that explores uncertainty around emotional authenticity and artistic fulfillment. The refrain “don’t know if I ever been, tryna [write down?]”—though partially unclear—suggests introspection and the difficulty of capturing complex emotions through art. This part brings the chaotic humor of Part I into sharper contrast with a more vulnerable and melodic resolution.

[Drop]
The drop amplifies the emotional core introduced earlier, repeating the refrain over a fuller instrumental section. The hypnotic repetition evokes a sense of inner searching, possibly commenting on how artistic pursuit often fails to resolve existential uncertainty. The phrase’s ambiguity allows multiple interpretations, mirroring the theme of confusion and emotional disconnection.

[Build]
As the intensity rises, the repetition continues, heightening the sense of emotional buildup. It reflects the cyclical nature of self-reflection and the difficulty in articulating one’s feelings. This section blurs the line between internal dialogue and outward performance, further deepening the song’s introspective arc.

[Drop]
The second drop mirrors the earlier one, reinforcing the emotional tension and providing continuity. The lack of lyrical variation suggests a trance-like descent into uncertainty, with the music doing more of the emotional storytelling than the words themselves. It’s both a sonic climax and an emotional plateau, reinforcing the theme of ambiguity.

[Outro]
The outro strips back the production, letting the final repetitions stand alone. It leaves the listener in a space of unresolved thought, emphasizing the unresolved question of “how it’s supposed to feel.” This conclusion aligns with the song’s experimental nature—eschewing resolution in favor of emotional openness.

Track 1 Official Video

We Live In A Society Songs

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