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Alternative & Indie - Released January 1, 2012 | Modular

Distinctions 5 étoiles Rock and Folk - Pitchfork: Best New Music
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Alternative & Indie - Released July 17, 2015 | Universal Music Australia Pty. Ltd.

Hi-Res Booklet Distinctions Pitchfork: Best New Music
After a long break from making Tame Impala music, during which time Kevin Parker produced other people's albums and played in side projects, 2015's Currents shows that much has changed with the project. Like before, Parker recorded the album on his own, only this time without Dave Fridmann's guiding hand and by mostly forsaking electric guitars in favor of a wealth of synthesizers, and this time out there's a much more relaxed, intimate approach. In addition to the soft rock of the '70s feel that permeates the sound, Parker adds elements of R&B and hip-hop to the mix, gets lyrically introspective in spots, and generally sounds like he's either on the verge of a long nap or just waking up from one. These aren't bad things when done right, and Parker's prowess as a producer and musician makes most of Currents palatable, if not extremely exciting. However, by focusing on all these new elements, and by sleepwalking through at least half of the songs, this new way of doing things does a lot to frustrate the expectations of anyone looking to this album as another mind-blowing expression of guitar-heavy psych-pop. It's hard to deny artists the chance for change or growth, and Parker seems dedicated to both here. Where you can fault them is if they don't change or grow in an interesting or unique way. Great chunks of Currents sound like plenty of other bands and artists in 2015, especially since practically everyone with access to recording equipment did their own takes on midtempo, chilled-out R&B. Does Parker do it as well as others like Unknown Mortal Orchestra or Caribou? Sure, he does. Is it enough to make this album worth checking out? Yes, but it's not enough to make it an improvement over his previous work. At Tame Impala's best, they blend huge guitar sounds, melodic basslines, and vintage synths into sweeping psychedelic rock with energy and drive that feel hugely cinematic while still feeling real. There are only a couple times here when Parker comes close to that sweet spot. For example, the both "Let It Happen" and "Reality in Motion" have a good blend of guitars and synths and a sense of purpose that's often missing elsewhere. There are far more times where he strays too far from his strengths and gets bogged down in meandering, overly smoothed-out sounds and meandering songs that deliver no real payoff or sound half-baked at best, like the embarrassingly weak "Cause I'm a Man." It's too bad that Parker stashed his guitars away instead of keeping them around to add to the mix. It's definitely not a case of addition by subtraction; it's quite the opposite. While Currents would have made a decent Kevin Parker solo album, people coming to the album and expecting to hear the Tame Impala they are used to will most likely end up quite disappointed. ~ Tim Sendra
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Alternative & Indie - Released February 14, 2020 | Universal Music Australia Pty. Ltd.

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Even before this fourth Tame Impala album came out, Kevin Parker was, more than ever, everywhere! Kanye West, Kali Uchis, Lady Gaga, Travis Scott, Theophilus London, The Avalanches and a handful of others were lining up to pick the Australian’s brain in one way or another; on his part, the leader of Tame Impala has dazzled the world with his talents since 2007, blending psychedelic rock, XXL rhythms and airtight choruses. However, the ultra-hypnotic psychedelics have been put on mute for The Slow Rush, his sunniest and most hedonistic work to date. There is a serious feel-good factor to this chill, 80s-sounding album which can occasionally sound very FM even slightly cheesy… The fluffy R&B of Hall & Oates and The Bee Gees, the soft art pop/rock of 10cc or Supertramp and the polished finish of early Air music are all clear influences, with the synths tending to eclipse the guitars. But such is Kevin Parker’s talent that he submerges these inspirations in a production that is 100% 2020. The Slow Rush is a formidably effective record, and the catchy Is It True could propel it to dizzying heights. © Marc Zisman/Qobuz

Alternative & Indie - Released April 12, 2019 | Universal Music Australia Pty. Ltd.

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CD€14.99

Alternative & Indie - Released February 14, 2020 | Universal Music Australia Pty. Ltd.

Even before this fourth Tame Impala album came out, Kevin Parker was, more than ever, everywhere! Kanye West, Kali Uchis, Lady Gaga, Travis Scott, Theophilus London, The Avalanches and a handful of others were lining up to pick the Australian’s brain in one way or another; on his part, the leader of Tame Impala has dazzled the world with his talents since 2007, blending psychedelic rock, XXL rhythms and airtight choruses. However, the ultra-hypnotic psychedelics have been put on mute for The Slow Rush, his sunniest and most hedonistic work to date. There is a serious feel-good factor to this chill, 80s-sounding album which can occasionally sound very FM even slightly cheesy… The fluffy R&B of Hall & Oates and The Bee Gees, the soft art pop/rock of 10cc or Supertramp and the polished finish of early Air music are all clear influences, with the synths tending to eclipse the guitars. But such is Kevin Parker’s talent that he submerges these inspirations in a production that is 100% 2020. The Slow Rush is a formidably effective record, and the catchy Is It True could propel it to dizzying heights. © Marc Zisman/Qobuz
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Alternative & Indie - Released May 21, 2010 | Universal Music Australia Pty. Ltd.

The limpid lysergic swirls and squalling fuzz-toned riffs that populate Tame Impala's debut clearly owe a hefty, heartfelt debt to the hazy churn of late-'60s/early-'70s psych rock, but the members of this Perth threesome are hardly strict revivalists. In comparison to their similarly inspired contemporaries, they chart a course somewhere between Dungen's lovingly meticulous replication of their chosen style and Malachai's deconstructive, electronically enabled pastiche of same, deftly skirting the potential for parodic excess that comes with either extreme. Balancing an obvious reverence for their sonic forebears with subtly contemporary production tweaks, they make straddling two disparate eras feel like the most comfortable, effortless thing in the world. And that sense of unforced, unpretentious ease is fundamental to what makes Innerspeaker so simply, viscerally pleasurable: there's so much that Tame Impala get so wonderfully right here -- a distinct but understated undercurrent of melody, a relaxed but ever-present sense of groove, a crystal crispness and deliberateness to the sound even when it's treated with a healthy dousing of buzz and reverb -- without seeming like they're trying at all hard. Despite a classic power trio configuration and relatively limited use of overdubbing, the album frequently feels so sonically massive, so thick with ringing guitars, walls of effects, and tremendous, reverberating drums, that it's hard to believe it's the work of a mere threesome. Kudos are perhaps in order to neo-psych mainstay Dave Fridmann, who mans the mixing boards here with a relish and restraint that helps make this one of the most tasteful (and tasty) records on his recent résumé. Credit frontman Kevin Parker's lazily drawled, remarkably Lennon-esque vocals, too, (frequently Leslie'd or otherwise processed, which helps) with giving the album an extra air of free-floating authenticity (while only occasionally giving up anything as specific and tangible as a substantially intelligible lyric). It's only infrequently that individual songs manage to stand out from the surrounding fluid, atmospheric haze -- typically when the band decides to leave its hooks a bit of space to breathe, as on the chunky, chugging closer "I Don't Really Mind" or the crisp, snakily phased guitar lick cementing the deliciously poppy "Solitude Is Bliss." But the dearth of standout tracks here hardly feels like an issue -- indeed, Innerspeaker coasts so beautifully on its blissful, billowing waves of sound that readily discernible hooks almost seem like gratuitous distractions. © K. Ross Hoffman /TiVo
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Alternative & Indie - Released March 22, 2019 | Universal Music Australia Pty. Ltd.

Alternative & Indie - Released October 28, 2019 | Universal Music Australia Pty. Ltd.

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Alternative & Indie - Released November 16, 2017 | Universal Music Australia Pty. Ltd.

Alternative & Indie - Released December 4, 2019 | Universal Music Australia Pty. Ltd.

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Alternative & Indie - Released May 16, 2014 | Modular

Originally released as a limited-run LP for 2014's Record Store Day before Modular issued a digital version later that year, Live Versions is a live album from Australian psych rockers Tame Impala. Made up of nine beautifully recorded tracks captured during a 2013 performance at the Riviera Theatre in Chicago, Illinois, the record features tracks spanning all the way back to the band's self-titled 2006 EP. With its great production values and a superb set list featuring excellent cuts like "Desire Be Desire Go" and "Feels Like We Only Go Backwards," Live Versions is one of those rare live albums that could easily double as a best-of compilation for new fans, while offering enough in the way of new experiences that die-hard Tame Impala devotees will want to get in on the action. © Gregory Heaney /TiVo

Alternative & Indie - Released January 8, 2020 | Universal Music Australia Pty. Ltd.

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Alternative & Indie - Released January 8, 2020 | Universal Music Australia Pty. Ltd.

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Alternative & Indie - Released January 1, 2009 | Modular

Alternative & Indie - Released December 4, 2019 | Universal Music Australia Pty. Ltd.

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Pop/Rock - Released September 22, 2008 | Hole In The Sky

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Alternative & Indie - Released May 27, 2011 | Universal Music Australia Pty. Ltd.

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Alternative & Indie - Released March 1, 2013 | Universal Music Australia Pty. Ltd.

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Alternative & Indie - Released January 1, 2008 | Modular

Alternative & Indie - Released October 28, 2019 | Universal Music Australia Pty. Ltd.

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Tame Impala in the magazine