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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
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Alternative & Indie - Released March 22, 2019 | Universal Music Australia Pty. Ltd.

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Alternative & Indie - Released July 17, 2015 | Universal Music Australia Pty. Ltd.

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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 November 16, 2017 | Universal Music Australia Pty. Ltd.

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Alternative & Indie - Released January 1, 2008 | Universal Music Australia Pty. Ltd.

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

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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 | Interscope

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 May 12, 2020 | Virgin EMI

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Rock - Released October 15, 2009 | Smuggling Donkeys

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Alternative & Indie - Released May 12, 2020 | Virgin EMI

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Pop - Released April 30, 2020 | Star-Arsis Entertainment Group

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Musical Theatre - Released January 23, 2013 | Sundai Karaoke