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He substitutes “French Touch” synthesizers from guitars melodies and a snaring kick-drum from the metronome bass “untz” to create a psychedelic house rock product. Once cocooned by the milieu of Beatles and Supertramp, Parker becomes a Thomas Bangalter synthesizer simpatico for The Slow Rush. Parker has stated his desire to be a Max Martin-type producer but all things considered, The Slow Rush proves him a proficient Giovanni “Giorgio” Moroder of nu-disco, a deep house subgenre by any other name. After touring those of sixties psychedelia, seventies rock, and eighties electropop, his music jumped further in time the present. He decided on a hiatus that would end up lasting from the end of 2016 until 2019, whence festivals worldwide started propping up his name like beacons on their lineup cards and he sent smoke signals from the mountaintop, all heralding new singles, new music, new sounds. So on the strength of Currents, Parker toured for two years, uninterrupted.Īnd then he just stopped. It was the record that rocked eighties synthpop so fucking hard your ass would be left in last week the record that blew open the doors of what Tame Impala’s sound could be, no longer limited by what it should be a carte blanche handed to Kevin Parker from mass audiences to play as he wanted, tour for as long as he wanted.
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Most Tame Impala fans have branded Currents to their psyche. Not some little white lie either, but a grander, personal lie that does not fully understand the context between this record and its predecessor. Lest this writer go mad, anything else is just a lie. Strictly speaking, I’ve got my whole lifeīut strictly speaking, I’m still on track And all of my dreams are still in sight.Migrating the greater part of their trademark blossoming guitar-based psychedelia to Balearic synthesizers and French House organs, Tame Impala finds success and mindfulness with ‘The Slow Rush.’