Tame Impala - The Slow Rush
4d ago (updated 3h ago)
68
MERRY CHRISTMAS EVERYONE!

In the world of indie music, a new Tame Impala album is a bit like Christmas. In the evening, Santa Parker stops in front of our thatched cottages to place twelve beautifully wrapped psychedelic gifts under the tree. This year, the gift wrap was signed Neil Nrug and the Christmas date fell on February 14th.

At midnight, the carefree fan rushes onto the streaming platforms, vibrating with excitement. But for the first time, his face is decomposing: he received the same toys in 2012 and 2015. With a deep sense of bitterness, he has to face the fact that Christmas will never be the same again.

Once the disappointment is over, the fan sits religiously in a sofa to think, when an explanation comes to him. "Parker now sounds like every band which plagiarized him." So that's what this is all about. In 2010, Tame Impala's frontman opened the door to the global indie scene with an innovative production and dreamy melodies. But ten years later, the students have surpassed their master. Musicians like Morgan Delt and Ruban Nielson have integrated his codes to go further in the Tame Impala formula.
The result: with his return in 2020, Kevin Parker is no longer leader but follower. But wasn't disappointment a foregone conclusion? How could Kevin Parker equal three very successful albums whose influence still resonates today?

Drying his tears, the fan browses through the tracklisting and finds a third of the tracks to be some of the Kevin Parker's best songs (The amazing lead singles: "Bordeline", "Lost In Yesterday", "Posthumous Forgiveness", "It Might Be Time"), a third of boredom and a third to be thrown away. On listening to the record again, he realizes that good ideas are often spoiled by a marshmallow voice or stuttering maneuvers. The robotic choirs of "One More Year" end up getting bogged down, the acidic synth of "Breathe Deeper" comes too late and the brilliant instrumental "Tomorrow's Dust" is cluttered with mediocre vocals. Terrible when you measure the potential of these songs. Sometimes, he finds his smile again when Parker has fun sampling noises or bits of club conversations, or when Supertramp and Michael Jackson - "Off The Wall" period - appear in a chorus.

Unfortunately, some other tracks border on bad taste, like on "On Track", a "poor man's M83" skating in the mawkishness. Or on the house attempt "Glimmer", which see Parker discovering Virtual DJ in his pyjamas. Not to mention the length of the last track "One More Hour", which would have deserved a 4 minutes amputation for the good of humanity.

As the album progresses, Parker loses himself in his ambition to make pop music for everyone and it's clear that some of the songs could easily be listened to during your uncle's awkward wedding. Of course, an artist has to evolve and it is logical that an introvert born in the underground feels the need to compose universal music. For this reason, Parker's intentions are understandable. But "The Slow Rush" lacks that little spark on "Lonerism" and even on "Currents", which gave his songs a taste of coming back. So yes, the fan knows it, this time he was neither tender nor objective. After all, it's normal: we're always firmer with the artist we love.

Best tracks: "Posthumous Forgiveness", "It Might Be Time", "Lost In Yesterday", "Breathe Deeper", "One More Year", "Borderline".

Worst track: "Glimmer"
WhatTheFunk's Tags
1 Comment
3d ago
"some of the songs could easily be listened to during your uncle's awkward wedding" Gee, now that I think of it, I should get ahold of a time travel machine and experience my uncle's wedding again with Tame Impala. Hopefully, that doesn't cause a break in the space-time continuum in any way. If I accidentally disintegrate Kevin Parker along the way, sorry in advance folks.
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