Tame Impala – 2012 Tour Dates

“Why won’t they talk to me?” squeaks a small but emphatically overdubbed voice midway through Tame Impala’s second album. It’s got the pitch and ache of a kindergartener during his first day on the playground, an internal voice that for most adults never goes away completely, particularly when in the company of some significant stranger who reduces us to the helplessness of a whimpering puppy.

TOUR DATES:

Sunday, Oct 14, 2012
Cologne, Germany
SOLD OUT

Monday, Oct 15, 2012
Paris, France
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Tuesday, Oct 16, 2012
Brussels, Belgium
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Wednesday, Oct 17, 2012
Hamburg, Germany
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Friday, Oct 19, 2012
Oslo, Norway
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Saturday, Oct 20, 2012
Stockholm, Sweden
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Sunday, Oct 21, 2012
Gothenburg, Sweden
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Sunday, Oct 21, 2012
Gothenburg, Sweden
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Monday, Oct 22, 2012
Copenhagen, Denmark
SOLD OUT

Tuesday, Oct 23, 2012
Berlin, Germany
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Thursday, Oct 25, 2012
Vienna, Austria
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Friday, Oct 26, 2012
Milan, Italy
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Saturday, Oct 27, 2012
Lausanne, Switzerland
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Monday, Oct 29, 2012
Amsterdam, Netherlands
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Tuesday, Oct 30, 2012
London, UK
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Thursday, Nov 1, 2012
Manchester, UK
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Friday, Nov 2, 2012
Sheffield, UK
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Saturday, Nov 3, 2012
Glasgow, UK
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Wednesday, Nov 7, 2012
Brooklyn, NY
SOLD OUT

Thursday, Nov 8, 2012
Philadelphia, PA
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Friday, Nov 9, 2012
Boston, MA
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Saturday, Nov 10, 2012
New York City, NY
SOLD OUT

Monday, Nov 12, 2012
Toronto, ON
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Monday, Nov 12, 2012
Toronto, ON
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Tuesday, Nov 13, 2012
Chicago, IL
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Thursday, Nov 15, 2012
San Francisco, CA
SOLD OUT

Friday, Nov 16, 2012
Los Angeles, CA
SOLD OUT

Saturday, Nov 17, 2012
Los Angeles, CA
SOLD OUT

Friday, Dec 7, 2012
Meredith Music Festival, VIC
SOLD OUT

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

Tame Impala – First Single ‘Elephant’ – Lonerism Album (CD, LP)

Published on Jul 25, 2012 by modularpeople

First single off Tame Impala’s forthcoming new LP on the block ‘Lonerism’, out Oct 5 AUS/ Oct 8 UK / Oct 9 US.

Modular announced that West Australia’s psych warriors Tame Impala will return with their new album Lonerism, to be released globally this October 2012.

Recorded and produced almost entirely by Kevin Parker in studios, planes, hotels and homes around the world, and mixed by the trailblazing Dave Fridmann (Flaming Lips / MGMT), Lonerism’s sound is not so much reinvented as completely redrafted and stretched way, way out. It’s a quantum leap forward for the band, the seeds of which were sown shortly after their debut album ‘Innerspeaker’ was mixed.

Featuring twelve new songs, Lonerism’s most apparent advance is in it’s synthesizers – there’s swathes of them cutting melancosmic shapes across almost every track. There’s still the searing guitar lines, bouldering drums, free bass and of course Parker’s voice, but now there’s heavily mournful pads and sunshine lead lines from an army of analogue explorers in the mix.

Lonerism follows on from their 2010 ‘Innerspeaker’ debut which was welcomed by fans in stages the world over, and won Tame Impala many critical nods including both Rolling Stone & Triple J’s Album Of The Year as well as a touring schedule with highlights such as Glastonbury, Big Day Out, Roskilde, Summersonic and T In The Park.

Album tracks:

1. Be Above It

2. Endors Toi

3. Apocalypse Dreams

4. Mind Mischief

5. Music To Walk Home By

6. Why Won’t They Talk To Me?

7. Feels Like We Only Go Backwards

8. Keep On Lying

9. 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

Tame Impala Announce New Album ‘Lonerism’

Aussie band Tame Impala. Photo by Maciek Pozoga

As they heavily implied with a teaser trailer just over a week ago, Tame Impala will release an album called Lonerism this year. The follow-up to 2010’s Innerspeaker, due in October via Modular, was recorded entirely by frontman Kevin Parker and mixed by David Fridmann. The single “Elephant” is out in July, but the first taste from the album, the track “Apocalypse Dreams”, is available in the widget below. Below the track, watch a trailer for the album, along with Pitchfork.tv’s 3D video for “Why Won’t You Make Up Your Mind?” from Innerspeaker. Update: Check out the band’s tour dates below, via Modular.

Coming Soon from Tame Impala

Directed by Snakes & Ladders.
Additional footage shot by Matthew Christopher Saville.

Tame Impala – Tour dates

07-27 – 07-29 Byron Bay, Australia – Belongil Fields
08-01 Council Bluffs, IA – Mid America Center *
08-03 – 08-05 Chicago, IL – Lollapalooza
08-08 – 08-06 Montreal, Quebec – Osheaga Music and Artst Festival
08-10 – 08-12 San Francisco, CA – Outside Lands Music & Arts Festival
09-29 Brisbane, Australia – Parklife Festival
09-30 Sydney, Australia – Parklife Festival
10-01 Perth, Australia – Parklife Festival
10-06 Melbourn, Australia – Parklife Festival
10-07 Adelaide, Australia – Parklife Festival
10-14 Cologne, Germany – Gebaude 9
10-14 Paris, France – Bataclan
10-16 Brussels, Belgium – Ancienne Belgique
10-17 Hamburg, Germany – Gruenspan
10-18 Oslo, Norway – Rockefeller
10-20 Stockholm, Sweden – Debaser
10-22 Copenhagen, Denmark – Vega
10-23 Berlin, Germany – Postbahnhof
10-25 Vienna, Austria – Fluc
10-26 Milan, Italy – Magazzini Generali
10-27 Lausanne, Switzerland – Les Docks
10-29 Amsterdam, Netherlands – Paradiso
10-30 London, England – O2 Academy Brixton
11-01 Manchester, England – HMV Ritz
11-02 Sheffield, England – The Leadmill
11-03 Glasgow, Scotland – O2 ABC

Reported by Pitchfork

Tame Impala Live in Brooklyn, NYC

Photos by Ebru Yildiz.

“I’m sorry guys, I woke up and my voice sounded like… this,” croaked Kevin Parker, lead force for the Australian psych-rock outfit Tame Impala, last night at The Music Hall of Williamsburg. “We sound more like Ted Nugent Impala.” But he needn’t have apologized; except for a few of the high notes on “It Is Not Meant to Be” and some froggy moments during “Alter Ego”, Parker sounded exactly like he does on record– like someone trapped John Lennon’s vocal take from “A Day in the Life” in a jar and taught it to sing new songs.

In fact, the entire Tame Impala live experience is eerily close to the Tame Impala record experience. They are a powerful, flexible live unit, but even rumbling at full “Manic Depression” lilt, they sound pleasantly drowsy: the guitar fuzz is thick but underwater-sounding, like someone draped a horse blanket over the amp. Just like on Innerspeaker, all of the music– the wailing, the ghostly vocals, the glazed “Communication Breakdown” guitar attack, the organ– seemed to be pouring out in one warm thin drizzle from a transistor radio. The appropriate Winamp visualizer squiggled on the wall behind them. They looked like Stillwater. Failing to get stoned before the show suddenly felt like a serious oversight.

Photos by Ebru Yildiz

Across the board, it was a “whoa, dude” kind of night: Before Impala, Brooklyn’s Young Magic blew my mind slightly, sounding twice as singular and intense live than on record. The music was loose and free-form, but the sound was so loud and tar-thick that I felt it in my throat. Behind them, jarring film clips– a near-naked woman snake-charming a snake, a woman swinging from a rope hanging from the side of a building– added to the disorientation.

So by the time Tame Impala got to their third or fourth eye-dilating, throbbing boogie-rock vamp, marijuana felt superfluous. The band makes stoner-friendly music, for sure, but there’s also something cough syrup-y about it– the glassy mix of low-end dirty riffs and sky-scraping clean leads in the guitars have a pinwheels-for-eyes effect. (A kid behind me whose pupils resembled the visualizer on the wall went backward, arms straight, onto the floor, and had to be removed by security like a bag of laundry.)

Photos by Ebru Yildiz

In this context, the material from their upcoming Lonerism was rougher, coarser, and groovier. Their new jam “Elephant” swung hard, revealing its peacocking “Jeepster” heart. Up to that point, everyone had been nodding their head in delirious, languid unison. But the minute the “Elephant” riff broke out, a pack of girls near me snapped out of their stupor and began dancing, hard.

Pitchfork TV

Produced & Directed by:
RJ Bentler

3D Compositing & Animation by:
Michael Garber & Stephen McNally

Edited by:
Michael Garber

Engineered & Mixed by:
Jeff Curtin