Tame Impala to release live EP for Record Store Day, stream version of “Be Above It”

Image (3) Tame-Impala-Larson-5-1024x682.jpg for post 300784

Photo by Jeremy Larson

Tame Impala are set to release a Live EP on Record Store Day (April 19th) via Modular. Simply titled Live Versions, the eight-track effort features records from their 2013 concert in Chicago

According to a press release (via Pitchfork), Tame Impala’s Kevin Parker selected the songs “based on how different the live versions are from the album versions. His goal was to give fans something they won’t already have; something they’ve only previously experienced at a Tame Impala show.”

As a preview, the band has shared an extended, jam-heavy live version of Lonerism opener “Be Above It”. Clocking in at a whopping seven and a half minutes, the song expands and tweaks the original’s arrangement by adding in spacey blasts of synth and swirling psychedelic flourishes towards the end. Listen in below and check out the tracklist.

Live Versions Tracklist:
01. Endors Toi
02. Why Won’t You Make Up Your Mind
03. Sestri Levante
04. Mind Mischief
05. Desire Be Desire Go
06. Half Full Glass
07. Be Above It
08. Feels Like We Only Go Backwards

Listen: Tame Impala cover Michael Jackson + Tour Dates

Kevin Parker frontman of Tame Impala

Kevin Parker frontman of Tame Impala

 
Tame Impala have recorded a cover of Michael Jackson’s ‘Stranger In Moscow’. See below to listen now.

The new version of Jackson’s 1996 single was posted to frontman Kevin Parker’s Soundcloud earlier today. It follows the recent news that Parker has started a disco-inspired side-project AAA Aardvark Getdown Services alongside Pond members Jay Watson and Cam Avery and former The Chemist singer Ben Witt.

Tame Impala recently announced details of three UK headline shows to take place in July. The band will be in the UK for appearances at T In The Park and Latitude festivals, as well as support slots on Arctic Monkeys huge outdoor gigs in Finsbury Park, London in May.

Speaking in December last year, Parker revealed that he is currently working on Tame Impala’s next album. Commenting on its progress, he said: “The way I do it is there’s never recording ‘sessions.’ One finishes, the next one starts. It’s just continuous. I write songs every day, but I don’t necessarily get to record them. I just record whenever I can, whenever I’m home, whenever I have access to something that can make music.”

Tame Impala tickets are currently on sale! Here’s the latest gig listings:


Viagogo

22 May 2014

Tame Impala O2 Academy Oxford
Oxford

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from £18

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from £49

12 Jul 2014

Tame Impala Albert Hall
Manchester

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from £18

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from £44

14 Jul 2014

Hmv Institute Birmingham
Birmingham

NOT AVAILABLE

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from £34

15 Jul 2014

Tame Impala Rock City
Nottingham

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from £18

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15 Jul 2014

Rock City Nottingham
Nottingham

NOT AVAILABLE

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from £50

Watch Tame Impala’s Kevin Parker plays gig with disco side-project.

Kevin Parker frontman of Tame Impala

Kevin Parker frontman of Tame Impala – Photo: David Edward

Tame Impala frontman Kevin Parker has begun work on a disco side-project – click below to see fan footage of the group, who are called AAA Aardvark Getdown Services, playing live.

The outfit includes Parker plus Tame Impala and Pond members Jay Watson and Cam Avery and former The Chemist singer Ben Witt. Speaking to The West Australian about the group, who performed at Australia’s Festival Gardens over the weekend (February 22), Watson said: “Kevin’s been writing all these disco, Michael Jackson mega-hits that he wouldn’t use for Tame because he’d be too sheepish about it but i’m trying to convince him to because they’re all next-level ‘Thriller’-pop.”

He added: “It’s pretty much Kevin’s home recordings, kind of electronic but with Ben Witt who plays guitar and maybe another guy and Cam playing with Kev.” According to Perth Now, meanwhile, their set was filled with songs which were influenced by the likes of Daft Punk, Chic and Blondie.

Speaking in December last year, Parker revealed that he is currently working on Tame Impala’s next album. Commenting on its progress, he said: “The way I do it is there’s never recording ‘sessions.’ One finishes, the next one starts. It’s just continuous. I write songs everyday, but I don’t necessarily get to record them. I just record whenever I can, whenever I’m home, whenever I have access to something that can make music.”

Tame Impala are set to play this summer’s Latitude festival. They will join headliners Two Door Cinema Club and Damon Albarn on the bill, with Agnes Obel, Jungle, Damien Jurado, Julia Holter, Valerie June, Koreless, East India Youth, Kwabs, Eagulls and Fat White Family also included on the line-up.

Tame Impala pick up three prizes at Australia’s ARIA Awards

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Flume, Nick Cave and One Direction also take home prizes at Sydney ceremony

Congratulations Kevin!

Tame Impala took home three awards from the Australian ceremony, including Best Album for their 2012 LP ‘Lonerism’. The band also won the award for Best Rock Album and Best Band at the event, which took place at Sydney’s Star Event Centre, Billboard reports.Meanwhile, electronic producer Flume also picked up three awards in the categories of Producer Of The Year, Breakthrough Artist and Best Male Artist. Speaking from the stage about his win in the latter category, the producer (real name Harley Streten) said: “I actually did a bit of research and found out that never in the history of the ARIAs has someone who doesn’t sing won this award. I’m not a frontman. I prefer to spend my time sitting in a dark room, in front of a laptop. So hopefully it opens the floodgates for producers around Oz and people with bad voices in general.”Other winners on the night included Nick Cave And The Bad Seeds, who won Best Independent Release and Best Adult Contemporary plus Best International Artist winners One Direction.Earlier this year Tame Impala teamed up with The Flaming Lips to release a joint EP. The Flaming Lips have covered ‘Runway, Houses, City, Clouds’ as well as ‘Elephant’ for the special vinyl release, while Tame Impala have contributed live recordings of The Flaming Lips’ ‘Are You A Hypnotist?’ and ‘Silver Trembling Hands’ to the EP.

Tame Impala have put together a new band for a one-off gig in order to raise money for a pregnant friend who recently had her car stolen.The Australian psych-rockers put together an instrumental band they’re calling Cam, cam and kevin’s groovy groovy funtime disco funk elevator explosion, aka kevin spacey, in an elevator earlier today (July 22) and are playing the fundraising show tonight at The Bird in Perth, Australia.They band announced the last minute gig on Facebook, writing: “Hey perthian fiends, our good friend the lovely and evidently pregnant felicity groom had her car stolen on saturday morning, so we’re all going to THE BIRD tonight to raise money for a new one! playing is Maurice Flavel, Electric Toad and our new band we made at about 4 o’clock this afternoon cam, cam and kevin’s groovy groovy funtime disco funk elevator explosion, aka kevin spacey, in an elevator. that’s the band name, all of that. in fact this whole post is the band name. including this. oh yeah and we didn’t have time to find a vocalist so it’s instrumental, the best kind of ental. get down there yo’s!”Yesterday Kings Of Leon drummer Nathan Followill said Tame Impala were currently his favorite band.

Tame Impala’s Kevin Parker recently admitted the idea of recording a follow-up to 2012’s ‘Lonerism’ doesn’t excite him. Speaking in Uncut, the brains behind the Australian band discussed his lack of plans for a new record as well as his thoughts on the album format and the unlimited possibilities of technology.Asked what the next album will sound like, Parker responded: “Right now, doing another album doesn’t excite me. There’s something narrow-minded about thinking an album is the only way you can put out music, especially in the world we’re in at the moment. Anything is possible. There’s so many people doing interesting things with the internet and technology, there could be so many ways of making music and listening to it.”

Tame Impala and Flaming Lips are set to record an EP together.The band will cover two of each others’ tracks for a four-track vinyl EP, which will be sold at the shows the bands are joint headlining in October and November in Boston, Philadelphia, New York and Columbia.“…doing a Tame Impala does Flaming Lips songs and Flaming Lips do Tame Impala songs 4 song vinyl!!,” Wayne Coyne wrote on Instagram under a photo of lyrics to Tame Impala’s track “Runway, Houses, City, Clouds”.Pitchfork report that for the EP, Flaming Lips have covered Australian psych rockers’ ‘Runway, Houses, City, Clouds’ and Tame Impala appear to be doing The Flaming Lips’ ‘Are You a Hypnotist?’ and ‘Silver Trembling Hands’ – covers they have recently been testing out in a live setting.Tame Impala’s Kevin Parker recently admitted the idea of recording a follow-up to 2012’s ‘Lonerism’ doesn’t excite him. Asked what the next album will sound like, Parker responded: “Right now, doing another album doesn’t excite me. There’s something narrow-minded about thinking an album is the only way you can put out music, especially in the world we’re in at the moment. Anything is possible. There’s so many people doing interesting things with the internet and technology, there could be so many ways of making music and listening to it.”

Flaming Lips meanwhile, are working on an “extended play 6 song thang..” to go with the track they’ve written for the upcoming film adaptation of military science fiction novel [i]Enders game[/a], Coyne recently tweeted.

Tame Impala Brings Sonic Magic to NYC Terminal 5

Photo: Chris Becker

Photo: Chris Becker

Tame Impala played their biggest night in New York City yet, finding themselves headlining Terminal 5, and selling it out with ease. The venue was as packed as can be, leaving dozens of disappointed fans outside the venue hunting for fair priced tickets.

Kicking off their new tour, the Kevin Parker led crew sounded just as strong as they did at Webster Hall last November.

The band Tame Impala describes its music as “psychedelic hypno-groove melodic rock.” It certainly went down well with the glassy-eyed crowd and telltale aroma that filled Terminal 5 on Feb. 19.

The four Australians and one Frenchman were kicking off their 2013 North American tour. A screen above them showed swirly lines reminiscent of a Spirograph. On the stage floor awaiting the bare feet of lead guitarist Kevin Parker sat an array of effects pedals.

Parker deployed the spacey notes opening “Apocalypse Dreams” and a voice steeped in reverb, backed by a tight rhythm, a steady bass line from Nick Allbrook and solid keyboards. The tune swelled into a wall of sound before a brief pause at its climax — and then the band jumped back in as Parker fell to his knees for jamming. The trippy and fluid number left the crowd wrapped in the band’s power.

Parker quickly moved into “Solitude Is Bliss,” a standout number from the 2010 debut record, “Innerspeaker.” Parker and guitarist Dominic Simper let their instruments playfully weave around each other as keyboardist Jay Watson kept the pulse and flailed his hair about in the throes of sonic possession.

Coming on the scene a few years back, the youthful group, whose founding four members hail from Perth, Australia, made a splash with its neo-psychedelic pop sound. Last year’s highly and rightfully touted sophomore album, “Lonerism,” exposed them to the masses. It also happened to be one of my favorite albums of the year.

Heavy Keys

The record builds upon their fondness for the music of the 1960s and heavy doses of keys. The band altered its lineup by moving Watson from drums to keyboards and adding drummer Julien Barbagallo, the Frenchman.

At Terminal 5, the new record’s “Endors Toi” had both Simper and Watson on keys before Simper slipped back to his guitar, and both he and Parker chopped away until Watson and Barbagallo took over with a break-beat remix-style jam that moved the crowd back and forth — like a puppeteer maneuvering his little friends.

On “Elephant,” a hard-rocking number, the group matched the recording’s jagged guitar riffs, then moved into an avant- garde jazzy jam, worked back into the main rhythm and suddenly ended. The rug was playfully pulled out.

“Feels Like We Only Go Backwards” featured Parker’s spot- on John Lennon voice carrying a late-’60s easy-flowing Beatles- like ditty. The short tune drew some of the biggest cheers.

Stretching Out

The set-closing “Half Full Glass of Wine” offered the guys a canvas to stretch out. As Barbagallo tapped cymbals, Parker, Simper, and Watson all took to the guitars. Deep and dark chords were followed by Parker’s wobbly vocal and then a call-and-response jam as the quintet rocked with heads down. For 10 minutes the crowd bounced along with the music.

The encore was a live debut of “Nothing That Has Happened So Far Has Been Anything We Could Control” from “Lonerism.” Keys blossomed and the beat was big. Parker played in unison with the projectors’ looped lines, while Watson slowly worked the piano into a gentle landing for us all.

Openers The Growl got things going with a very soulful Black Keys type psych-gararge rock that got the rumbles going. It was their first show in the USA ever.

Tame Impala continue their North America tour through March and will be returning to the U.S. for a few dates in spring, including some of the premiere music festivals: Coachella, Sasquatch and Bonnaroo.

See galleries of both Tame Impala & The Growl HERE.

SETLIST – Statistics for songs

SOUND CHECK WITH TAME IMPALA

TAME IMPALA PERFORM “It is not Meant to be”

Tame Impala: Alone In The Wild

Tame Impala

Tame Impala – American Songwriter – November 9th, 2012

Kevin Parker snapped the photo on the cover of his band Tame Impala’s second album, Lonerism, one day in Paris. It’s a blurred picture of a park scene on the first day of spring, seen from the other side of a great iron fence. To him, it signified the idea of being separate from the world – an outsider looking in.

“Most of these songs are about other people, which kind of reflects on yourself as being not a member or part of that,” Parker says one day, again in Paris, though he isn’t “officially living anywhere at the moment” (nor does he have a cell phone; we Skyped).

Not surprisingly, the outsider aesthetic plays a big part in Lonerism. In a lot of ways, the album feels like one of the more important statements in indie rock this year. It shows how psychedelic and dreamlike production qualities can complement great songwriting – not mask a lack of it. Lyrically, Parker says he wrote about things that he doesn’t normally like to talk about.

“It feels like I only go backwards / Every part of me says go ahead,” he sings on “Feels Like We Only Go Backwards,” which has one of the album’s best melodies.

Other song titles reveal more inward gazing, like “Why Won’t They Talk To Me.” On “Mind Mischief,” Parker declares, “It feels like my life is ready to blow,” against an infectious guitar riff and an inventive, circulating drumbeat.

On Tame Impala’s first album, 2010’s Innerspeaker – which put them in the international spotlight, playing festivals, opening for MGMT in the U.S., and garnering major accolades in their native Australia – Parker wanted to create the sound of an electronic album using organic methods. In other words, he played all the drums live. “I wanted to create that hypnotism in music without using loops,” he says.

On Lonerism, he let go of those limitations. He didn’t have access to a drum kit while he was recording the album’s opening cut, “Be Above It,” so he pulled a drum sample off Innerspeaker, ran it through a Roland Space Echo unit, and built the song around the new drum loop.

Coming up with workarounds in the studio is what Parker has been doing since he was about 12 years old. That’s when he discovered he could record himself playing drums on one of his father’s two tape-decks, then layer keyboards and guitars and bounce it back to the other deck.

He seems like the type of guy who could get lost in a studio for weeks on end without food, water, or a shower, and not know the difference. (There are some photos of him on the Internet showing him headphoned, zonked out, and dreamy-eyed, surrounded by cords and gear.)

Ten years on, Parker still plays and records all the instruments on Tame Impala records, though the public face of the band usually includes longtime members Jay Watson and Dominic Simper, as well as bassist Nick Allbrook.

They are all part of a collective of Perth musicians who make psychedelic rock music in bands like Pond and Mink Mussel Creek. The cherubic Allbrook and the outgoing Watson seem to have had a hand in more than a few of these offshoots. Pond, who Parker plays drums for, goes deeper into negative space, trying on all kinds of acoustic-y freak folk and ’70s cock-rock, to generally awesome effect.

“I love making music with people, it’s a really important part of making music,” says Parker. “But with Tame Impala, that’s just not what it is. There’s this part of me that has to make music alone.”

Lonerism fades out on the watery psychedelic guitar interlude and tape hiss of “Sun’s Coming Up,” a private, transcendent bit of music that seems like it could only have happened during the dawn hours, alone.

I ask Parker if making records by himself and writing songs about being a loner are connected, but he brushes it off.

“It’s more the theme of the songs. I don’t consider myself to be a loner when I’m recording. It’s really a coincidence. It’s really what the songs are about.”

The eleven songs on Lonerism are a reflection on a period after a long year of touring, when Parker found himself turning towards being alone as an identity (hence the made-up ideology of lonerism).

“I felt it a lot as a kid. As I became an adult I forgot a lot about it and just turned myself into a people person. But going on tour a lot reminded me of how strenuous it is to be a social person. It reminded me that I’m this kind of person who thrives on their own.”

Our Skype connection breaks up a bit and when we’re back on the line I ask him again how that’s so different from being alone in the studio. It feels like in the interim, he might have had time to ponder the apparent paradox.

“There’s a connection I guess because I wouldn’t be making this kind of music if I was in a group of people. I guess it all comes together. Everything’s related to everything.”

American Songwriter

Tame Impala – Live @ Late Night with Jimmy Fallon (2011-08-12)

Tame Impala – ‘Lonerism’ Album

Tame Impala

The Australian psych rock band Tame Impala released their sophomore album, Lonerism, on October 9th in the U.S. via Modular Records.

The list of artists who have tried to be like The Beatles is a long one. Ramones invented scuzz-punk while trying to be “The Beatles on speed”. ELO’s aim was to pick up where ‘I Am The Walrus’ left off. Daniel Johnston’s entire career is a naive attempt at emulating the Fab Four. And some people reckon Oasis sound a bit like The Beatles too.

Whether he’d admit it or not, Tame Impala’s Kevin Parker is another member of the club – but with a difference. Where most pilfer from The Beatles in the widest sense, ‘Lonerism’ seems to dig directly from one album – 1966’s ‘Revolver’ – and particularly one track: ‘Tomorrow Never Knows’. It’s the song that The Chemical Brothers ended DJ sets with. It’s the one Oasis referenced on ‘Morning Glory’ (“Another sunny afternoon/Walking to the sound of my favourite tune/Tomorrow never knows what it doesn’t know too soon”). And it’s the one on which John Lennon turned on, tuned in and dropped out, envisioning vocals that sound like “thousands of monks chanting” and unleashing his inner astral traveller.

It’s fair to say that Parker has done his fair share of psychedelic voyaging too. Put ‘Lonerism’ under a microscope and ‘Tomorrow Never Knows’ is there in its DNA. 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. It’s a blend that really hits its stride at the album’s mid-point, ‘Why Won’t They Talk To Me?’, which crashes over you in waves of sound, pulling back and pushing forward, becoming stronger every time. Its lyrics are starkly literal. It frequently repeats the title, sounding more desperate with each reiteration, and elsewhere it sinks into a pit of despair: “I’m so alone/Nothing for me”; “Lonely old me… I thought I was happy”.

Before the album came out, Parker explained that the title is pretty literal too: it describes his feelings of intense alienation. “I just want to expose myself – I’ve become addicted to telling people how socially inept I am”, he said. What’s strange is how that thought translates into this trippy dream of an album. The default musical response to deep-seated self-loathing would be to pick up an acoustic guitar and emote windily about your myriad problems. Instead, Parker has created something outwardly joyful, a groove-based collection that packs in pop melodies; a Technicolor trip masking his sadness. The titles tell a tale full of ‘woe is me’ moments – the great, bass-driven pop song ‘Feels Like We Only Go Backwards’, the aforementioned ‘Why Won’t They Talk To Me?’ and the glam rock-like ‘Elephant’, which masks lyrics including “He’s got friends but you get the feeling/That they wouldn’t care too much if he’d just disappear” behind a Goldfrapp-like electro stomp. It’s music that tells you one thing while sounding like another.

Perhaps the greatest moment is ‘Nothing That Has Happened So Far Has Been Anything We Could Control’, a cymbal-crashing moment of fried psychedelia that’s so Beatles-y you expect to see the Yellow Submarine float by. But these Beatles comparisons aren’t meant to be a criticism, nor a suggestion that ‘Lonerism’ lacks scope, ambition, originality or great tunes. It’s more a reflection of how far The Beatles could have gone on exploring the psychedelic direction of their ’66/’67 purple patch, and a reflection of how, today, it’s possible for one man, working largely alone, to match what was once the pinnacle of pioneering sound produced by the greatest band ever in the world’s most famous studio. ‘Tomorrow Never Knows’ came from experiments with psychedelic substances; ‘Lonerism’ is escapism that comes from a desperate place. Is this feat – and this brilliant album – what the term ‘splendid isolation’ means?

Tame Impala – Elephant

The childlike element of ’60s psychedelia hasn’t translated as much to the contemporary psych-rock scene. Watch Roky Erickson documentary You’re Gonna Miss Me or spend any time delving into the solo discography of Syd Barrett, and you get a sense of these psych-rock pioneers as big, innocent kids (among other peculiarities). But anything that smacks of stuffed-animal softness these days has to either fight or embrace derision for being “twee.” Hence when MGMT wanted to sing about a lost icon, they picked twee-pop godfathers the Television Personalities’ Dan Treacy, although in an earlier time it made sense for the TPs to sing that “I Know Where Syd Barrett Lives.”

Former MGMT tourmates Tame Impala certainly don’t aim to change any of that in their new video for Todd Rundgren-remixed fuzzbox-stomper “Elephant,” but there’s a spirit of bedside imaginativeness at play in their recordings that expands on an earlier generation’s whimsy. The Australian psych-rock juggernauts’ new album, due out October 9 in the U.S., is even called Lonerism — this is not music that evinces bottle service. New York-based director Yoshi Sodeoka runs live footage by Aussie creative collective the Silentlights through swirling, analogue-style effects, complementing the song even better than the spacey imagery that accompanied its original premiere.

It’s the kind of spirit that had even Winnie the Pooh tripping out about elephants — ‘cept he called ’em “heffalumps” — by 1968. Who knows where Tame Imp frontboy Kevin Parker lives?

“Gotta be above it,” goes the whispered chant wending all through the opening track, as if Parker’s psyching himself up for a sequel sure to be scrutinized by the hipsterati. This time out, even the rhythms are gloriously fucked by the mixing-board gizmos of indie-producer-supremo David Fridmann; whereas Innerspeaker aimed to create electronica solely through guitars and sound manipulation, this one adds actual synths (vintage analogue models, of course) to his cosmic medicine chest. “I’ll just close my eyes and make it so that all these little things don’t affect me now,” the singer chirps in a voice that suggests the damaged inner child John Lennon concealed beneath the screams of Plastic Ono Band, as ricocheting double-time drums and slasher-film synth chords exacerbate the ticking-time-bomb suspense. Instead of the fake bravado that often mars sophomore albums, our hero instead dives face-first into his predicament: Can I put the real me out there and not be torn apart?

Kevin Parker of Tame Impala

Parker learned to play guitar by jamming with his dad, a former Beatles/Beach Boys/Supertramp cover-band member. As you might suspect, the son digs the Flaming Lips, too, along with Sweden’s exactingly proggy Dungen, a combo reflected in this album’s explosive “Endors Toi.” But his fantasy collaborator is Britney Spears, and he’s allegedly toiling on an entire album dedicated to his apparently oblivious countrywoman, Kylie Minogue. True to his outsider identity, Parker is clearly already rebelling against the expectations that come with winning Album of the Year honors in Australia’s Rolling Stone, and so he sticks shameless bubblegum piano riffs into “Apocalypse Dreams” while hitting notes higher than those even Spears and Minogue can achieve.

His real-life ally is French chanteuse Melody Prochet, whose new Melody’s Echo Chamber he played on and produced. But unlike distant pop divas, actual girlfriends bring genuine conflicts, here expressed with unsparing candor: “A beautiful girl is wasting my life / I’m playing a part as somebody else / While trying so hard to be myself.” In “Nothing That Has Happened So Far Has Been Anything We Could Control,” he calls his beloved “Elodie” while hammering out hammy Ringo Starr drum fills until he concludes on the fade-out that “Every man is happy until happiness is suddenly a goal / I’ll just be here waiting till the doctor calls….”

The troubled soul Parker presents, his girl problems, the struggle for authentic manhood, the interplay between angelic choirboy fa la las and barely contained instrumental violence…these are the building blocks of power pop as practiced by early Who, Badfinger, Big Star, or Todd Rundgren (who contributes a superior, non-album remix of the giddy yet stomping single “Elephant”), and other typically self-destructive man-child rockers of the ’60s and early ’70s who’ve inspired countless safer, lesser imitations. Parker’s gift is not only that he goes psychologically deeper and darker than most acolytes of those bands — all while rendering exacting replications of complex psych-prog chords and harmonies that pretenders can only approximate — but that he also distorts and personalizes the outcome.

This lonerism, like that of Nick Drake, Ian Curtis, Kurt Cobain, or Elliott Smith, feels dangerously genuine, yet not nearly as despairing. 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. Parker’s little boy may be emotionally bruised, but his capacity for capturing bliss remains unblemished.

Band members:
Kevin Parker (Vocals), Nick Allbrook (Bass), Jay Watson (Drums)
Dominic Simper (Synthesizer), Julien Barbagallo (Backing Vocals)

Lonerism Tracklist:
01. Be Above It
02. Endors Toi
03. Apocalypse Dreams
04. Mind Mischief
05. Music to Walk Home By
06. Why Won’t They Talk to Me?
07. Feels Like We Only Go Backwards
08. Keep on Lying
09. Elephant
10. She Just Won’t Believe Me
11. Nothing That Has Happened So Far Has Been Anything We Could Control
12. Sun’s Coming Up


Modular; 2012
By Ian Cohen
; October 8, 2012 The band will be showcasing songs new and old at Lollapalooza, Outside Lands, and Osheaga. Check out their full 2012 tour schedule HERE