Virtually every instrument is caked in distortion, but not the warm, familiar fuzz of an overdriven amplifier. It feels digital, alien, the sound of modern machines going wrong. All this is underpinned by genuinely great songwriting.
Lonerism is more fully realized than its predecessor, which may have resulted in some unpredictable obscurity being thrown by the wayside.
Where the debut broke its sound into episodic chunks, Tame Impala now finds a singular sound in the cross-section of timeless pop and psychedelia.
You feel small while listening to Lonerism, but in a way that makes you appreciate how man, machine, and Mother Nature can harmonize.
An album that’s likely to appeal to fifty quid blokes who’ll dig the retro influences, people to whom the term ‘chillwave’ actually means something, dance fans and everyone in between.
Only two albums into their careers as Tame Impala, they've birthed a record on the precipice of their personal perfection.
This combination gives Lonerism the best of both worlds, allowing it the creative freedom to emerge as one of the most impressive albums of the home-recording era while still feeling superbly refined.
Sounds phase in and out, drums thunder, guitars chime with warm, valve amp bite, voices are multi-tracked into luscious harmonies, snatched sentences of speech burble in the background, loops repeat and vocals echo distantly, like they’re drifting in from a radio in another room.
This album is incredibly intriguing and was executed beautifully.
Sonic exploration is the name of the game on this album, making it a real treat with headphones.
‘Lonerism’ is an absolutely amazing and inspiring record. Its arrival is an exciting time for music in general because it is truly “cosmic” pop.
Jinking together the familiar, hallucinogen-fuelled guitar strums and splashed-out lyrics of debut first album, ‘Lonerism’, hits a more dejected nerve.
Despite Lonerism’s inherent sense of emotional isolation he is not alone up there, for deep within the grooves of this euphoric record he has graciously chosen to share with us his view.
There’s no reinvention present, nor is it needed. If anything, Lonerism feels like a precious collection of uncovered relics.
Where Innerspeaker aspired to impress us at every turn, Lonerism is much more discreet and less concerned with being as seductive as possible. This album is more confident in itself, preferring to offer songs that grow on you rather than immediately instigate enthusiasm.
This album is meditative, layered and confident, simultaneously cooler and more temperate than its predecessor.
Arrangements explode or implode, meticulous vocal melodies rub up against perverse sonic sensibilities, genres are hopped, and fidelity is determined by the pure haste of getting ideas down.
For all the alienation implied by the album's continually warping and waving center of gravity, there are colors here brighter than a child's watercolor rainbow.
Lonerism takes you out of yourself, yet somehow deep within yourself, to lay a bedrock of familiar and warming sounds.
It may not break much new ground, certainly not for instrumentation or other reasons given, but it’s one of the most solid albums all year. To hate it really would be extraordinary.
Even if at times there's a feeling Parker's trying to cram too many ideas into one piece, it's a record that will undoubtedly be used as a benchmark for guitar music of the near future.
‘Lonerism’ commits neither to pop nor blissed-out transcendence. Instead, a joyous sense of imagination proves to be its own reward.
Just when you’re tempted to discount the record for style-over-substance tendencies, Parker’s lyrics prove to be the half-hidden heart of it all.
Immersive, textural and deceptive, it draws you in with warm reverb and dreamy melodies until you suddenly realize you've been zoning out, lost in the spacious drift.
While Lonerism does feel a bit more expansive, utilizing even more of mixer Dave Fridmann’s fancy effects pedals and studio wizardry, it uses those tools to delve even further inward.
|# 13 -||AllMusic|
|# 37 -||American Songwriter|
|# 21 -||BBC|
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|# 13 -||Clash|
|# 8 -||Cokemachineglow|
|# 41 -||Consequence of Sound|
|# 12 -||DIY|
|# 6 -||Exclaim!|
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|# 21 -||Gigwise|
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|# 2 -||musicOMH|
|# 1 -||NME|
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|# 1 -||Obscure Sound|
|# 16 -||Paste|
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|# 4 -||Pitchfork|
|# 7 -||PopMatters|
|# 4 -||Pretty Much Amazing|
|# 26 -||SPIN|
|# 48 -||Spinner|
|# 11 -||Stereogum|
|# 7 -||The 405|
|# 10 -||The Fly|
|# 6 -||The Guardian|
|# 34 -||The Line of Best Fit|
|# 34 -||Time Out London|
|# 37 -||Tiny Mix Tapes|
|# 11 -||Uncut|
|# 2 -||Under the Radar|
|# 1 -||Urban Outfitters|
|# 3 -||Greg Kot (Chicago Tribune)|
|# 4 -||NME (2010-2014)|
|# 7 -||Pitchfork (2010-2014)|
|# 2 -||Pitchfork Readers|
|# 41 -||The Needle Drop|