Tag Archive | "Tame Impala"

Mile Me Deaf – Alien Age

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Mile Me Deaf – Alien Age

Posted on 03 February 2017 by Joe

Sound the breakthough album klaxon. Wolfgang Möstl’s Mile Me Deaf act  has always been experimental but they are on the cusp of the big time on the basis of this latest, ambitious release

On previous releases he’s been looking to push the boundaries of indie rock and guitar pop.

Here he’s pushed, then smashed his way past them, veering off into trip hop, dub, jazz, and ambient. Above all, as XTC once proudly sang, This is Pop.

MMD1400

Of course it wouldn’t be a Mile Me Deaf release without some left-field caveats to it.

It is pop with a massive alien, psychedelic twist, as the album is a loose collection of tracks about the end of the human race. But you’d never know its content was so dystopian with a sound more akin to a Flaming Lips festival headlining set, with its mish-mash of infectious melodies supplemented by a rag-tag collection of riffs, loops, twists and turns.

This is best typified on lead single Blowout, which follows the same successful template Tame Impala have pursued in recent years – make them dance, make them feel weird.

Then on Shibuya+ he hands lead vocal duties over to Katarina Trenk, and another great single is born, as he channels the spirit of Bristol’s early trip hop scene.

Among other high points is Headnote#2, which has a neat Massive Attack shuffle to it and a fantastic rock film score middle section.

The klaxon has sounded, its now up to you and a bit of luck to make this the hit it deserves to be.

9/10

by Joe Lepper

For more information about Mile Me Deaf visit their bandcamp page here.

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Tame Impala – Currents

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Tame Impala – Currents

Posted on 30 July 2015 by Joe

With this their third album Tame Impala have truly emerged from mere interesting Australian psych rock act to global pop sensation in waiting.

32344-currents

Hitting the UK album charts at number three this month and number one in Australia,  Currents deserves to be their most successful album to date. The weird trippy psych rock of their debut album Innerspeaker and the stomp of its follow up Lonerism, in particular its stand out track Elephant, are still here. So too are the synths you can lose yourself in and the quirky phasered drum rolls and guitar licks. But here they sound far more pop, far more danceable, with the bass squelchier and the band’s key figure Kevin Parker’s vocals purer, almost soulful at times.

The Less I Know the Better and Cause I’m a Man are genuine pop gems, to rival Innerspeaker’s top pop picker Solitude is Bliss. Let it Happen, in all its nearly eight minutes of glory, is weird, wonderful pop that could conceivably go on far longer.

So where does this leave Watson and co? A good point of reference is perhaps The Flaming Lips, another eclectic psychedelic outfit that embraced pop music on gusto ,on Soft Bulletin and Yoshimi and the Pink Robots. Take note festival organisers A Lips and Impala double bill on your main stage would be sensational. But on this evidence it may not be long before Tame Impala gets star billing of the two.

9/10

by Joe Lepper

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The Proper Ornaments – Wooden Head

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The Proper Ornaments – Wooden Head

Posted on 08 July 2014 by Joe

When he’s not playing guitar and singing for indie band Veronica Falls, James Hoare hangs out with his friend the Argentinian song writer Max Claps to make 1960s influenced music under the name The Proper Ornaments.

Wooden-Head

This first album by the pair is indeed full of 1960s influences but definitely via the 1990s. As a result it is less Syd Barratt and The Byrds and more like Ride, Teenage Fanclub and even The Stone Roses. The Teenage Fanclub sound is perhaps clearest on openers Gone and Sun.

Third track Ruby introduces a more acoustic folk feel that showcases the best and worst of this release. In terms of atmosphere Ruby  is wonderful, reminiscent of the 1960s the pair are plundering with a lovely lose-yourself quality. But it also shows a lack of focus on melody, something that any worthy plunderer of the 1960s needs as well. It was a time of awesome pop after all but Ruby feels like the build up to a catchy chorus that never materialises.

This frustration continues on Now I Understand, which has a nice riff but never reaches the punch of a good chorus. Don’t You Want To Know (What You’re Going To Be) sounds a little too much like an early Stone Roses song, discarded on the studio floor by their producer John Leckie for not being good enough for the Manchester band’s stunning debut.

And so the album progresses with Step into the Cold and You Shouldn’t Have Gone sounding a bit like Ride and What Am I To Do sounding a little like Dear Prudence, but without the trippy chorus.

I want to love this album, it sounds like so much of my favourite music. The pair are clearly reverential of their musical influences too, which is great to hear. But the problem is there are many others doing this kind of retro musical mining far better. Gare Du Nord band Papernut Cambridge’s melodic 1960s indie sound is more accomplished. Fever Dream perform psychedelic garage rock with more emotion and Temples and Tame Impala plunder the 1960s with far more commercial appeal.

6/10

by Joe Lepper

Wooden Head is released on Slumberland and Fortuna Pop!

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Temples – Thekla, Bristol (October 23, 2013)

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Temples – Thekla, Bristol (October 23, 2013)

Posted on 29 October 2013 by Joe

Considering the universal acclaim heaped upon Australian quintet Tame Impala’s Lonerism of 2012 and the emergence of the likes of Toy and Hookworms, it appears that the music world is primed for a resurgence of rock psychedelia. Throw Kettering four- piece Temples into the revivalist mix and, alongside the aforementioned antipodeans, we have two extremely capable bands to lead us in this renaissance of kaleidoscopic sounds.

temples 1

First coming to the attention of Heavenly Records founder Jeff Barrett after the self-produced Youtube efforts of guitarist/singer James Bagshaw (picturesd above)  and bassist Thomas Warmsley, the group have since caught the ear of the music press and garnered praise from British rock’s old guard in the venerable forms of Johnny Marr and Noel Gallagher.

As drummer Sam Toms’ thundering beat propels the band into opener ‘Sun Structures’ this reverence from two of British guitar music’s elder statesmen seems rather appropriate; Temples are so steeped in the past that one is not sure of having stepped aboard Bristol’s notorious nautical venue or into some paisley adorned time warp. The impressively voluminous mop of black curls upon Bagshaw’s head, combined with a long coat of scarlet fur, make the frontman almost eerily reminiscent of Marc Bolan while the 12 string jangle of his Rickenbacker during ‘Sand Dance’ bring forth evocations of The Byrds. Even Bagshaw’s Gretsch Country Gentleman, used alternately throughout, brings to mind Beatlemania era George Harrison.

Temples, however, are too good to be cast as mere copyists or gratuitous revivalists. After Bagshaw’s partial grumble that the near sell-out audience is being “way too quiet,” the crowd get more involved with proceedings during ‘Ankh.’ The song’s stomping grove and a chorus gilded by duel guitar string bends frees the hitherto unsure audience of its ambivalence and things start to move at the front. The post-chorus riff, favoured in synthesised form on the recorded version, comes forth in the shape of a tasty guitar riff from Bagshaw and it proves superior as a live performance.

temples2

The crowd then really start to come alive; during second single ‘Colours To Life,’ some of the youngsters in the first few rows start being pushed and jostled into the foldback speakers at the front of the stage. A bouncer then enters into the melee and, despite being hugely outnumbered, it is a case of heavyset adulthood versus waif like youth and order is restored with little fuss. Containing hypnotic riffs of pure psychedelia and an accessible, anthemic chorus, the song displays a band on form and, despite their callow years, the young men from the Midlands certainly steer a tight musical ship.

While Temples are in possession of a precocious ability in regards to song-craft, it is with this musicianship that they are most impressive. Toms and Warmsley provide a solid rhythm section in the form of watertight grooves and keyboardist/guitarist Adam Smith alternates comfortably between instruments throughout. It is Warmsley who is perhaps the bonefide star of the show; physically resembling a young Bobby Gillespie, he moves restlessly in a straight back and forth line towards and away from his mic and he leaves no area of his fret board neglected as his inventive playing sees him effortlessly meander through the octaves.

Despite their youth and inexperience as a band in its nascent stages, the only moment of musical leakage is during new single ‘Keep In The Dark.’ Bearing a resemblance to Tame Impala’s ‘Elephant,’ the song sees Bagshaw vocally enter a couple of bars early at the final chorus but, with a wry smile, he instantly notices his mistake and adjusts accordingly.

Featuring a prominent 12 string guitar riff and reverbed echoing backing vocals, first single and career highlight thus far, ‘Shelter Song’ is the last track of the night and the 4 young men exit the stage having only entered it a mere 40 minutes and 8 songs earlier.

Stepping outside as I disembark from the Thekla, it is 2013 once more. While everything about Temples is so aligned with the past, their story has only just begun; if they continue to use the materials and musical lessons from yesterday to fashion such faithful and impressive recordings and live performance, they could be a band that very much belongs to the future.

Words by Scott Hammond, Pictures by Kevin McGough

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Glastonbury Festival 2013 Preview – The Best Acts To Watch Out For

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Glastonbury Festival 2013 Preview – The Best Acts To Watch Out For

Posted on 04 June 2013 by Joe

The choice of music at the Glastonbury Festival can be bewildering: from the well known Pyramid Stage, which forms the bulk of the BBC TV coverage, to the smaller stages and bar venues.  To help out we’ve compiled our list of the key bands to watch out for, many of which have already impressed us live. It’s worth noting that the BBC Introducing tent line up had not yet been announced at the time of publishing and we urge you to check out that stage as well to find your new favourite band. It was one of our favourite locations when the festival was last held in 2011.

Dinosaur Jr

The Park Stage is shaping up to be one of our favourite line ups this year especially with indie rock veterans Dinosaur Jr making the Friday line up. Don’t expect witty stage banter from the maudlin J Mascis and the band but do expect some of the best guitar soloing and all round fret noodling you will ever hear.

Django Django

Django Django will have fond memories of Glastonbury having played the BBC Introducing Stage long before the release of their critically acclaimed, self-titled debut album in 2012. Back with a Friday evening Park Stage slot they are now highly experienced at delivering a stunning festival set with their idiosyncratic take on the notion of indie pop.

Tame Impala

They played twice at Glastonbury 2011 but mud and life conspired to ensure we missed them both times. Not this time as we will ensure we see this Australian act’s very modern take on psychedelic rock. Their Friday, Other Stage slot shows the wide appeal for their two stunning albums Innerspeaker and Lonerism.

Portishead

We champion local acts in our key areas of Brighton and the south west of England and they don’t come bigger for us than Bristol’s Portishead. Back from a hiatus in 2008 with the stunning album Third they are one of the most innovative acts in the UK and not to be missed live when they grace The Other Stage on Friday night.

Billy Bragg

Billy Bragg at Glastonbury Festival 2011

Billy Bragg at Glastonbury Festival 2011

At the last Glastonbury festival in 2011 Bragg was headlining and organising the Leftfield stage. He proved once again what a consummate festival act he is. Armed with just his guitar, voice and wise words he provided this reviewer with shelter from the rain and one of the highlights from the festival. He’s back again at the same venue on the Friday night, this time with a full band. As an indication of how high his star is once again rising he has also bagged a Saturday afternoon Pyramid Stage slot, where he will bring his songs about love and a politics  to a wider TV audience.

Bridie Jackson and The Arbour

Bridie Jackson and The Arbour at the Glastonbury ETC finals

Bridie Jackson and The Arbour at the Glastonbury ETC finals

This year we were among the judges of the Glastonbury Emerging Talent Competition (ETC) which was won by this north east of England  folk act. They quite simply stole the show at the finals of the competition with their haunting, stunning interpretation of English folk. Their prize is to open proceedings on Saturday at the Acoustic Stage, one of the most warm spirited venues at the festival.

Calexico


Another of our favourite acts is Arizona band Calexico, who put in a superb festival set at Pavement’s All Tomorrow’s Parties in 2010. Expect to be dazzled by their excellent blending of indie rock and mariachi music as they play tracks from the past and last year’s excellent album Algiers  at the Park Stage on the Saturday night.

First Aid Kit

First Aid Kit at Bristol O2 Academy, 2012.

First Aid Kit at Bristol O2 Academy, 2012.

If you want stunning vocals from tiny Swedish women then look no further than sisters Johanna and Klara Söderberg, aka First Aid Kit. We caught their set at Bristol’s 02  Academy last year and were struck with the power of their vocal talents. Their cover of Simon and Garfunkel’s America is not to be missed should it make their set. It is an indication of how far they’ve come since we first saw them in a pub in Brighton many years ago that they now have a Sunday afternoon Pyramid Stage slot.

Stealing Sheep

Stealing Sheep at The Fleece, Bristol, 2012

Stealing Sheep at The Fleece, Bristol, 2012

The best support band we have ever seen. A packed Fleece in Bristol was left in awe last year when they supported Field Music. Now they headline in their own right and are firm favourites on the UK festival scene with their wholly original merging of indie folk bizarrely reimagined as a Quentin Tarantino soundtrack. Their Sunday afternoon slot at the Park Stage is well deserved after a busy year for this Liverpool band.

Matthew E White

Matthew E White at Thekla, Bristol, 2013

Matthew E White at Thekla, Bristol, 2013

Matthew E White skips across genres effortlessly, from gospel to funk to soul to country to rock. The eclectic West Holts is therefore the perfect venue for him to showcase tracks from his debut album Big Inner. We caught his set at Bristol’s Thekla this year and were left impressed not only with the quality of the music but his witty and engaging stage banter. Not to be missed when he takes to the stage on Sunday afternoon.

Phoenix

One of the best pop acts around. Following the success of 2009’s superb album Wolfgang Amadeus Phoenix they are back in 2013 with the release of Bankrupt! With a Sunday headline slot on the John Peel stage this French band will be primed to show Glastonbury how guitar pop should be played.

Nick Cave and the Bad Seeds

The Pyramid Stage line up is arguably the most impressive it has been in years, offering a great mix of old and new artists. Last time we attended in 2011 we managed to avoid the stage entirely. This time we’ll be regulars at the venue with Sunday’s set by Nick Cave and the Bad Seeds among those not to be missed. They and Cave in particular have still got it as a recording and live act all these years on. A true legend. Just watch the clip above and brace yourselves for amazement.

Words and pictures by Joe Lepper

 

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Top 20 Albums of 2012

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Top 20 Albums of 2012

Posted on 07 December 2012 by Joe

The  culture of illegal downloading and Spotify playlists have conspired to give the album a torrid time this year.  According to latest figures from industry body the BPI, album sales fell by 13.8 per cent during the first half of the year and in the second week of August Rhianna’s album Talk That Talk became the lowest selling UK number one album when it  shifted just 9,758 copies.

Albums are arguably becoming a more niche  purchase among consumers, which is why there will be a whole bunch of albums in this best of list that you will have never heard of and by bands whose names will be new to you. But that doesn’t mean the quality of these albums is diminished. We have at least one enormous seller, a couple of concept albums as well as some stunning debuts by brand new bands. Above all all those on our list are interesting, have tales to tell and are showcasing artists doing interesting things with music. Album sales may be down, but the quality of music produced this year shows that critically at least 2012 was a great year for the album. Sit back, get your Christmas lists ready and enjoy Neonfiller’s Top 20 Albums of 2012.

20.North Sea Scrolls

North Sea Scrolls is an album that brings together two celebrated musical grumps, Luke Haines and Cathal Coughlan, along with journalist Andrew Mueller, to create an alternative history of the British Isles. That’s right its a concept album, but one that has a worthy place on our list due to its notion of a Britian where the broadcaster Chris Evans is ritualistically sacrificed, 60s producer Joe Meek is culture minister, Enoch Powell is poet laureate and Ian Ball, the kidnapper of Princess Anne, has a crisis of identity in Broadmoor about Ian Ball the singer from Gomez. (DR) More

19. Jack White  – Blunderbuss

We are proud to admit that foppish indie bands who struggle to shift a few thousand CDs are our usual review fodder. It is unheard of for us to review an album that is top of the UK and US albums charts at the time of writing. But for Blunderbuss, the stunning solo debut of former White Stripes man Jack White, we will make an exception. (JL) More

18. Lambchop  – Mr M

As Lambchop albums go Mr M lurks somewhere between the soulful sound of Nixon and the intimacy of Is A Woman.  Its tender subject matter and strings give the impression that Lambchop leader Kurt Wagner is drifting up to heaven with Vic Chesnutt, the late singer- songwriter and friend to Wagner who the album is dedicated to. One of the most beautiful albums of the year. (JL) More

17. Shearwater – Animal Joy

Shearwater have come along way since they were formed by Okkervil River man Jonathan Meiburg as a folky side project. Now signed to Sub Pop  and with Meiburg long departed from Okkervil River, they are a fully fledged indie rock band in their own right. This is arguably their most accessibly release yet, with Meiburg’s fiercely environmental lyrics blending well with a raft of powerful and thought provoking indie rock tracks, with Breaking the Yearlings and centrepiece Insolence among many highpoints. (JL) More

16. The Shins – Port of Morrow

The Shins - Port of Morrow

James Mercer’s Shins are back and getting regular play on alternative and mainstream radio stations alike.  There aren’t many acts that can appeal to such a large demographic, but then not all acts are able to expertly serve up one of the best summer pop music albums of the year. Mainstream music with an alternative edge doesn’t  get better than this. (DR) More

15. Efterklang – Piramida

Efterklang - Piramida

This is the least orchestrated album the Danish band has produced. It takes time to reveal itself, but it is worth the initial persistence to let it unravel its charms. It is not an album that will appeal if you are looking for catchy melodies or a sing-a-long chorus, the songs brood and build and work their way into your brain over time. (DR) More

14. The Mountain Goats – Transcendental Youth

As you would expect from frontman John Darnielle’s writing there is still a hell of a lot of lyrical self-help, with the track Until I Am Whole a fine addition to the Darnielle survival songbook. But with the birth of his son Roman this year he has presumably less time to wallow, as his life fills with even more hope and optimism. The use of brass, arranged by Matthew E White, across the album probably best typifies the uplifting feel, particularly the trumpets on the relentlessly upbeat Cry for Judas and the sumptuous horn arrangement on White Cedar. Another great release from the man many believe is one of America’s greatest living lyricists. (JL) More

13. Darren Hayman and the Long Parliament – The Violence

In the final instalment of the former Hefner man’s trilogy about his native Essex he turns his attention to the horror of the county’s 17th century witch trials. This double album is packed full of history, subtle melodies, powerful images and above all a sense of humanity typifies so much of his songwriting. The Violence has been a huge hit among critics this year who admire Hayman’s attempt to find Albion, a quest  that has been in decline in the music industry since the 1960s and early 1970s heyday of The Incredible String Band and Fairport Convention. A modern folk classic. (JL) More

12. Hospitality – Hospitality

Central to the success of this Brooklyn indie-pop trio’s self titled debut album is the singing and songwriting of lead singer Amber Papini. Her turn of phrase, effortless vocals and keenest of ears for a catchy single are only hinted at on opener Eighth Avenue, a kind of Belle and Sebastian rip. But as the album progresses track after track of hook laden, memorable, potential singles follow. If you don’t believe us, then maybe Rolling Stone will convince you. The magazine has named it among their Top 50 albums of the year. (JL) More

11. Beach House – Bloom

Beach House’s fourth album is called Bloom for good reason, as it emerges spring like from the icy cold wintery pop of 2010’s breakthrough album Teen Dream. As with Teen Dream, Bloom is still full of wonderful dreamy synth and guitar pop but the duo, of singer and keyboardist  Victoria Legrand and guitarist Alex Scally, are no longer walking with snow crunching under foot. They are now in a sunlit meadow somewhere gazing at the dandelions and marvelling at the world. (JL) More

10. Django Django – Django Django

Good old-fashioned pop with some modern art rock sensibility is key to Django Django’s appeal. Storm and the insane Duane Eddy-meets-astronaut-meets-Cairo market trader single Wor are included and are immediate standouts. But there’s plenty more pop up the sleeves of this London based band that topped our Bands to Watch Out for in 2011 list and met while studying art in Edinburgh. (JL) More

9. The Walkmen – Heaven

To use an REM comparison, The Walkmen’s latest album Heaven is their Lifes Rich Pageant moment. Just like that fourth album by REM, Heaven is an album by a band on top of their game in life and career and enjoying every moment. Some fine work behind the production desk by Fleet Foxes, Modest Mouse and Built To Spill producer Phil Ek has helped create this joyous sound. He’s not only added some pastoral Fleet Foxes moments, but has also roped in the Foxes’ Robin Pecknold for backing vocal duties. Think Fleet Foxes with balls. (JL) More

8. First Aid Kit – The Lion’s Roar

The road to Nebraska is littered with the ghosts of Americana and getting there demands a humble homage to the stoic wraiths of bearded plaid shirts to navigate its precise route. It’s rare for outsiders to succeed and unknown for the path to start from suburban Sweden, yet First Aid Kit have majestically transposed their whimsical folk deep into the mid-west, repairing the genres often passive conservatism, to redefine the contours of alt-country. (DN) More

7. Bob Mould  – Silver Age

The former Hüsker Dü and Sugar man has gone back to basics for his first album in three years. Amid an eclectic career, which has included devising TV wrestling shows and DJing, Mould has returned to what he does best for this album; fronting a three piece indie rock band with his gigantic voice and crunching guitar. (JL) More

6. Frankie Rose – Intersteller

Well this was  a surprise. There we were bracing ourselves for another standard indie-pop release from former Crystal Stilts, Dum Dum Girls and Vivian Girls member  Frankie Rose when this pops into our in box . Turns out she has created not just one of the best indie-pop release of the year, but one of 2012′s best pop albums. More

5. Field Music  – Plumb

Field Music Plumb

If you haven’t been sold on Field Music by any of their previous releases you are unlikely to be converted here, but you are clearly a lost cause. If you love their previous work you may find Plumb takes some time to reveal its brilliance, but once it does you’ll be hooked by their XTC and King Crimson-style riffs and quick fire pop. (DR) More

4. Guided by Voices – The Bears For Lunch

Release the Bears is an excellent record by a seminal 1990s act enjoying their productive renaissance. This is album number three for the band in 2012 alone and is the best of the bunch. Sure, there are a couple of underdeveloped tracks and throwaway numbers, but us die-hard GBV fans wouldn’t have it any other way. (DR) More

3. Tame Impala  – Lonerism

It was no surprise to see MGMT, Mercury Rev and Flaming Lips producer Dave Fridman credited with applying the finishing touches to Tame Impala’s second album of psychedelic pop. Largely recorded by Tame Impala frontman Kevin Parker at home, in hotels, studios and even a plane, Fridman has added that final pop savvy touch, just as he did to the band’s stunning debut Innerspeaker (2010). The end result is something that perfectly blends the care free attitude of a bedroom recording act  with the swagger of a seasoned old pro behind the mixing desk. (JL) More

2. David Byrne and St Vincent – Love This Giant

Love This Giant

Collaborations are something to approach with caution, for every example where the combining artists bring out the best in each other (Iron & Wine and Calexico) there is another where the worst of both is brutally exposed (the appalling Lulu by Lou Reed and Metallica). The good news is that Love This Giant, the work of David Byrne and Annie Clark AKA St.Vincent, falls firmly into the former category. Love This Giant, from the opening seconds of the brilliant ‘Who’ shows itself to be a fun, high quality, set of pop music. It is clever and sophisticated, but never in a way that stops the music being accessible. (DR) More

1. Tigercats Isle of Dogs

 

Our only 10/10 score for a new album this year and our only ever top mark from our co-editor Joe Lepper for a new album. As an indie-pop album goes this is as good as it gets. It’s teaming with radio friendly, infectious hooks, especially on Full Moon Reggae Party, Easter Island and Banned at the Troxy. It also has a sense of completeness as the band take us on an indiepop road tour across the east end of London. This is an album that may take time  to find a wider audience but over the next decade will gather more and more fans. (JL) More

Reviews by Joe Lepper, Dorian Rogers and David Newbury

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Tame Impala – Lonerism

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Tame Impala – Lonerism

Posted on 08 October 2012 by Joe

It was no surprise to see MGMT, Mercury Rev and Flaming Lips producer Dave Fridman credited with applying the finishing touches to Tame Impala’s second album of psychedelic pop. Largely recorded by Tame Impala frontman Kevin Parker at home, in hotels, studios and even a plane, Fridman has added that final pop savvy touch, just as he did to the band’s stunning debut Innerspeaker (2010).

The end result is something that perfectly blends the care free attitude of a bedroom recording act and the swagger of a seasoned old pro behind the mixing desk. But this is no mere Innerspeaker mark two. Parker and Fridman have added a far more modern touch to the act’s take on late 1960s psychedelia. While early Pink Floyd was arguably the nearest point of comparison for their debut, with Lonerism they now preach at the speakers and lava lamps of far cooler cats like MGMT.

To show they are still a little bit out there with the best of the tie dye brigade this Perth, Australia based act have selected Elephant as the album’s lead single. While a fun stomp in the mould of the Glitter band, it is far less accessible than the soulful Apocalypse with its marvellous ascending chords, the guitar riff filled Mind Mischief or the alternative pop gem Feels Like We Only Go Backwards.

Innerspeaker really impressed me on its release and two years on I’m still discovering new twists, turns and melodies across its tracks. The fact that Parker and Fridman have actually created a better album speaks volumes for Tame Impala’s deserved and increasing global appeal.

9/10

by Joe Lepper

 

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