One became “Borderline,” the only other new song Tame Impala has released besides “Patience.” It is filled with questions - “How was I to know this dark emotion?” - and muses about being “caught between the tides of pain and rapture,” mirrored in music that layers bouncy house-music piano chords with the beat of a rock ballad and a wistful, minor-key melody. Some had frisky grooves hinting at Stevie Wonder and Michael Jackson one reimagined the grandiose buildups of 1970s power ballads. I never expected to be able to have that experience in front of 10,000 people.”īack in November, Parker played me 10 tracks in various stages of completion, most awaiting vocal tracks and lyrics. Music for me has always been such a solitary, intense personal experience. “A lot of other stadium shows are about having a great time and screaming ‘Let’s party!’ There’s a strange kind of togetherness about 10,000 people getting together and screaming about the opposite. “And there’s something about 10,000 people all together, everyone screaming lyrics about, ‘Why am I a loner?’” he added.
That it’s less about me and more about everyone in the audience.” I’ve realized the value in me being an extrovert, or an exhibitionist, on stage. “But if I’m not going to perform, no one is.
Tame impala let it happen single version full#
“I used to hunch over and cover my face with my hair and stare at my toes the whole time - to a room full of 200 people,” he said, chuckling. To his own surprise, he found himself turning into something like an arena-rock frontman. With Parker backed by his touring band, Tame Impala became a headliner at festivals worldwide coming dates include Primavera Sound in Spain, Glastonbury in England and Lollapalooza in Chicago, along with Madison Square Garden shows on Aug. And people will never even realize that it’s different eras of music coming together.” “You can have all this music that’s of all different types coming together, and if you can say something over the top of that that’s meaningful, and is coming from the same person as the rest of it, it will join it together.
“That’s the thing about samples,” he said. Working with hip-hop producers gave Parker a new sense of historical freedom, he said. He worked on Mark Ronson’s album “Uptown Special” and teamed with him on Lady Gaga’s song “Perfect Illusion,” and was sought for studio collaborations with Kanye West, Kendrick Lamar, Travis Scott and others. That’s where I come from.”Īfter “Currents” was released, Rihanna remade Tame Impala’s “New Person, Same Old Mistakes” (as “Same Ol’ Mistakes”) on her album “Anti,” and Parker found himself in demand. “But me, I prefer just to think about the kid wearing headphones riding the bus home from school, or having a bedroom headphone listening session. “I reckon a lot of artists get inspired by the idea of singing something to a crowd, many thousands of people,” Parker said. “Yes, I’m Changing,” one song acknowledged, while others followed through on titles like “Love/Paranoia” and “The Less I Know the Better.” Straddling multiple musical eras but isolated at its core, the album found a broad audience yet still held the aura of a private discovery. The lyrics coped with both tortuous romance and an expanding career. With “Currents” in 2015, Tame Impala moved decisively beyond 1960s sonics, invoking 1970s arena-rock and 1980s R&B along with dance music and electronic music across decades. In conversation, Parker’s voice is a calm baritone in his songs, it’s a plaintive, sustained tenor and falsetto, higher and more fragile, a tone of exposed emotions. “Dare I face the real world?” he asked on Tame Impala’s debut “I just don’t know where the hell I belong,” he sang in “Mind Mischief” on “Lonerism,” an album title that summed up the songs’ isolation and uncertainty.
Yet while the sound was huge, the feeling was humble.įrom the beginning, Parker’s lyrics for Tame Impala have often been dispatches from a solitary, self-doubting spirit. Tame Impala’s first two studio albums, “Innerspeaker” (2010) and “Lonerism” (2012) could easily be categorized as neo-psychedelic rock, awash in analog studio effects - reverb, phasing, wild stereo panning - and dizzying layers of overdubs.
It took years for Parker to gather momentum for the new album: an unexpected consequence of the exploding popularity of “Currents” and the opportunities it brought. But he was still determined to get some recording done. That night, he found out that the rented house and about $30,000 worth of his keyboards, guitars and other equipment had been destroyed. I looked at everything else and thought, ‘I don’t need that.’” “I was, like, house burning down! What do I grab? My laptop and the Hofner. “I’ve written every Tame Impala song on it,” he said. He grabbed his laptop and hard drive - holding the makings of that unfinished album - along with his vintage 1960s Hofner bass guitar.
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