Tag Archives: Australia

Tame Impala – The Slow Rush

12 Mar

Nearly five years after mainstream-breaking Currents (2015), Australian psychedelic rock act Tame Impala is back with a new album. With a fuller ethos and nods to a wider palette, The Slow Rush finds Kevin Parker, the one-man driving force behind the act, at his most accessible – and the jury is out on whether that’s necessarily a good thing.

Comparisons to Currents are of course expected. That album was packed to the brim with endlessly-playable mega-hits, interspersed with wisps of ethereal fillers (see: “Gossip”, “Nangs“). It had instant classics like “The Less I Know the Better” and “Let It Happen” that redefined what a mainstream psychedelic rock song could sound like, taking back the mantle from the likes of Jefferson Airplane and Pink Floyd. You knew Currents was a magical ride from the first song – no matter how many times you heard it all the way through.

On The Slow Rush, there are definitely a few such stand-out moments. One of our first tastes of the album was “Borderline”, released almost a year ago to high praise. The song see-saws constantly between cautious synth-rock verses and a feverish chorus, as do the lyrics – “We’re on the borderline / Caught between the tides of pain and rapture,” he says. Accentuated by Parker’s signature Doppler-effect fades, the result is almost a Moebius strip of sound – happy, sad, pained, rapturous all at once – coiled inside one “loner in L.A.”. And even better than “Borderline” is “Breathe Deeper”, a dreamy gem hidden halfway into the album. We’ve already lauded this song, but it honestly deserves all that and more – an intoxicating mix of R&B, house and cool indie pop filtered through the distorted mess of Kevin Parker’s mind.

Beyond these two tracks, though, the roster varies quite a bit. There are tunes like “Instant Destiny”, where Parker comes across, well, boring. “This traffic doesn’t seem quite as annoying / quite alright, quite alright, sittin’ here,” he intones, on what’s essentially a fuzzed-out pop song about L.A.’s I-405. “Tomorrow’s Dust” sounds like he dialed it in with a generic falsetto over a borrowed Vampire Weekend guitar layer. “It Might Be Time” has some neat drums on the eponymous sections, but largely sounds like it could be filler music on an 80s-themed sci-fi show (we’re thinking Stranger Things?).

So what changed? Domestic bliss, we surmise. In the inter-album five-year-stretch, Parker has gotten married; with that change, he seems to have welcomed some much-needed contentment with life. Unfortunately, his music is best when the tension between his anxiety and genius is at near-snap tautness – and some of that has perhaps slackened with the arrival of Mrs. Kevin Parker.

The Slow Rush finds Parker at a personal best but a professional middle. He’s figured out some of the bigger pieces in his core psychological struggles, and the end-product is, with some exceptions, somewhat staid (for Tame Impala). And it doesn’t help that this comes after Currents, one of the best albums this side of 2000. All in all, give The Slow Rush a whirl – but this one’s probably for the fans.

Karnivool, Live and Loud at The Festival, Nicco Park, Calcutta (11/1/2015)

17 Jan

Dissidence is the mother of cohesion.

True words. We here at Top Five Records, for instance, may appear, on the surface, to be a bunch of music loving blokes, who are forever in unanimous agreement with everything that appears on the site; the sort who live in blissful harmony in the interwebs and who listen to good music that they all love. But the truth is far, very far from that.

Consider the Aussie progressive rock band, Karnivool.

karnivoolpress

Yeah, them.

In my opinion, and I’m sure, most of T5R would disagree, Karnivool is one of the greatest, yet one of the most under-rated bands, that exist in the world today. If you’re willing to look beyond the droning monotones of indie rock, and the tedium of modern day metal, Karnivool brings to the table, an oeuvre of music, so staggering in design and complexity that it leaves the attentive listener absolutely astounded. In the three albums that they have released since their formation in 1997, they’ve explored and experimented with styles of metal and alternative rock that very few bands have even dared to try.

So when Karnivool decided to drop by my hometown I was just short of doing this:

OMG I'm so excited I can't hide it OMG

OMG I’m so excited I can’t hide it OMG

I would hazard a guess that for the uninitiated, the concert, like most progressive rock concerts, was a deadly bore. But for people familiar with Karnivool, as for those who are familiar with progressive rock music, it was a rewarding experience. Prog rock works in a funny manner. There’s this learning curve associated with most prog rock songs, and the more you hear them, the better you understand the subtle complexities involved in them; and the better you understand these subtle complexities, the more you appreciate the music. Like a movie that you’ve seen a hundred times over – which you now know so well, that the hair on the back of your neck tingles when that epic scene is about to arrive, and you relish it in its entirety when it finally does.

Ian Kenny, the vocalist, wasn’t exactly the verbose type, so he let their music do most of the talking – which was pretty much what we wanted, because it was brilliant. He did seem to be enjoying the crowd support though, and looked relatively relaxed while singing – that is saying something, because it is honestly difficult to sing live, along to music that is so multi-layered and variable in terms of time signatures and rhythm. Steve Judd, the brilliant sticksman did some masterclass work on the drums (again, extremely commendable, because, you know, prog.)

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They performed songs from their three albums, including some of my favourites – Simple Boy, Cote, Themata, Rocquefort, Mauseum. It was a fine display of musicianship and technical prowess and they kept the fans’ attention at a steady high throughout the evening, and when they finally ended their set list with a heavily requested “New Day”, it provided the perfect denouement to their act.

I’ll stop here, and let you check out some Karnivool songs for yourself. I’m sure these songs will evoke mixed feelings – some will love them, while others will find them to be a drag.

But then, as a wise man once said, dissidence is the mother of cohesion. So it’s all cool in the end.

Subhayan Mukerjee

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