So I haven't blogged in a while but I was still sad enough to post my top 10 tracks and albums of 2015 on social media. Here were my picks of 2015!
10) Grimes - Flesh Without Blood
9) Chvrches - Empty Threat
8) Alabama Shakes - Gimme All Your Love
7) Sufjan Stevens - Should Have Known Better
6) Wolf Alice - Your Loves Whore
5) Courtney Barnett - Depreston
4) Jamie xx - Sleep Sound
3) Lana Del Rey - Terrence Loves You
2) Father John Misty - I Love You, Honeybear
1) Tame Impala - The Less I Know The Better
It's worth noting I limited myself to one track per artist. Amazingly, if 'The Less I Know The Better' didn't exist, Tame Impala would still come out on top with 'Let It Happen'! No prizes for guessing album of the year then...
10) Waxahatchee - Ivy Tripp
9) Grimes - Art Angels
8) Courtney Barnett - Sometimes I Sit And Think, And Sometimes I Just Sit
7) Wolf Alice - My Love Is Cool
6) Sufjan Stevens - Carrie & Lowell
5) Lana Del Rey - Honeymoon
4) Car Seat Headrest - Teens Of Style
3) Jamie xx - In Colour
2) Father John Misty - I Love You, Honeybear
1) Tame Impala - Currents
My favourite album since Alt J - An Awesome Wave. A coming of age album for Tame Impala. By far the best songwriting to date from Kevin Parker and the shift from guitar to keyboard taking centre stage worked wonders.
Overall, a strong year for music. Nice to see a few new names on the list. Let's hope they are around for plenty of years to come. It's notable to see that The Maccabees & Foals both don't make the list with both releasing pretty average albums. British rock music is not in a good state. Only Wolf Alice represent a British guitar band. Will they be around in 10 years?
So, leaving 2015 behind now... what does 2016 have for me to look forward to? Diiv, Radiohead, Vampire Weekend & Haim to name a few. However, this year has already started incredibly strongly.
Firstly, from Madrid are Hinds. A band I missed the opportunity to see at End Of The Road Festival in September. I regret that decision now, however I do have tickets to see them in two weeks time. They are a guitar based four-piece, playing incredibly catchy indie rock. Nothing is re-inventing the wheel with this album, but the enjoyment it brings forgives the lack of real innovation. The vocals especially really show a sense of fun that the girls had recording this album and I imagine they have similar fun playing it live. 'Easy' is my pick from the record, which is a strong example of the soothing tracks the album has to compliment the livelier songs. A strong first album of the year to get my attention for sure.
8/10
Now to a band I knew far more about. Ever since Daughter released 'If You Leave' a few years ago, I have been craving more music from them. Their gentle, atmospheric and extremely bleak and chilling style is one I adore. Their debut is one of the best by a British band for the last few years in my opinion. If you haven't heard it, I urge you to listen to it. Horribly overlooked by the British music press in my opinion. 'Youth' from that album was also my top track of 2013. This second album: 'Not To Disappear' is another beautiful piece of music. It's haunting qualities seem to strike a chord with me, much like their debut. It's fair to say they haven't taken giant leaps forward stylistically, but for that I am hugely thankful. Sometimes it's nice to stick to a winning formula and Daughter have done that here. I was lucky enough to seem them live a week ago. They were astonishingly good as I knew they would be. The lead single 'Doing The Right Thing' is one of the standouts from what is a very consistent album. 'How' is my personal favourite, with Eleanor's vocals being the perfect fit over a characteristically melodic riff which instantly feels as harrowing as you would expect from Daughter. They seamlessly create a feel to their music which is hugely emotive. Other highlights from this album include 'Mothers', with yet more depressing thoughts lingering. The experimental change of tempo on 'No Care' works well, with Eleanor testing out a different style of lyrical delivery we haven't seen before. The climax to 'Fossa' is extraordinary and testament to the all round capabilities of this band. An album that will make my end of year lists for sure.
9/10
And with that, I look forward to Diiv's new album on Friday. Another massively anticipated one!
Two unknown entities. I knew nothing of Car Seat Headrest before their latest album dropped on 30th October (although a debut for Matador Records - and essentially a reworking of old songs). As for El Vy, I had no idea this project was in the offing. Matt Berninger is one of my favourite vocalists and songwriters, so upon learning of this surprise collaboration, I was excited to listen.
I'll start with Car Seat Headrest. An album which offers some gorgeous and infectious Lo-Fi, which I am a real sucker for. The consistency on this album is brilliant, with a collection of tracks to really immerse yourself in. The vocals, albeit a little fuzzed out at times are layered and a poignant feature of this record. Music in this style can often feature vocals which are essentially background noise and included to basically fill the void, with the music doing all the talking. This isn't the case here, which I admire. The lyrics are witty and at times, damn right strange.
"I want to break something important I want to kick my dad in the shins "
The tempo varies throughout also, with some slower and more heartfelt moments such as 'The Drum' and some quicker and raw tracks like 'psst, teenagers, take off your clo". The quality however, never falters. The track 'Strangers' is a perfect example of a piece of music that you know won't get heard anywhere near enough as it deserves. A treasure for the small number of fans this band likely have in the grand scheme. 'Something Soon', 'Sunburned Shirts & 'Times to Die' being other highlights on an hugely like-able and addictive piece of music. It is likely Car Seat Headrest will reach nothing higher than semi-cult status. Sometimes, it's nice to be a part of that.
8.5/10
Matt Berninger has a distinctive voice. It's fair to say, it isn't a voice I would associate with positive, happy and vibrant themes. Upon hearing, 'Return to the Moon' - the first single off this album. I really wasn't feeling it. Beautiful South sprung to mind. Did I actually just think that? I remember thinking. In all honesty, I was reaching for the sick bucket. A horrible, horrible blend of vocals and music. It just didn't work. Thankfully, Matt & Brent (From Menomena) shift style pretty quickly. 'I'm the Man to be' follows. Here the vocals are dragged out and edgy, but with a more stripped back and groovy backdrop. This works better, with a more listenable fusion of styles. It's odd. Very odd indeed.
"I'm peaceful cause my dick's in sunlight
Held up by kites Cause I'm the man to be"
'Need a Friend', fits along with the mould that the music doesn't fit the vocal style. Yet, I love this track. Whether it's the reverby guitar, the catchy keyboard riff or the line: "this is heartbreaking, heartbreaking, heartbreaking, heartbreaking" that Matt Berninger wails out at the end, I really don't know. For the first time so far, it just works. "Silent Ivy Hotel","It's a Game" & a few others have moments to like, but overall it seems I like the vocals or the instrumentation as separate parts far too often. The music of Brent simply isn't that compatible with the vocal delivery of Matt. As hard as they try! Also, 'No Time to Crank the Sun' really does sound like a U2 rip off. Like, really badly.
When you are as big a fan of The National as I am, you very much like the status quo they have created in their music. This side project from Matt Berninger is intriguing and at times, enjoyable. But you come away thankful that The National are what they are. Perhaps a fresh set of ears, oblivious to The National may appreciate this more. Gig Soup gave this album a 10/10, calling it one of the best this decade. Have they heard 'High Violet'?!
It's been a busy few weeks of new music, not all of which I can cover. Likewise, I saw a number of bands at End of the Road festival (which I highly recommend to all Dorset residents!) which I could write individually about... as well as Wolf Alice at Brixton academy on the 26th September. Let's see how much I can cover.
So, I'll start with an album I wasn't really waiting on, or indeed expecting to like very much. Lana Del Rey's music has always interested me. Intense, dark, yet accessible pop music with a real sad and bitter atmosphere. A pretty unique combination these days. All these elements are rife on 'Honeymoon', creating a beautifully sombre album, drenched in misery. 'Terrence Loves You' is a really gorgeous track, with some of my favourite vocals by anyone I have heard this year. Lizzie Grant doesn't follow pop music's trends and she hasn't here. This is a captivating piece of music and one to really immerse yourself in.
8/10
I've been a fan of Chvrches since the early EP days, prior to their brilliant debut - "The Bones of What You Believe". That album was a great collection of synth pop tracks, paving the way for a number of new and existing artists to follow suit. I don't think Chvrches got enough credit for starting that mini-wave of music off 3 years ago, but in my mind they most certainly did. The question was; could Chvrches create something refreshingly new without taking away their strong identity. The answer simply, is yes! This is a great album, and for me confirms Chvrches as one of the best British bands around. We are in a time where British bands are dwindling in quality and indeed in numbers. The singles released prior to album release date were a delight. 'Leave a Trace' and 'Never Ending Circles' do ultimately continue directly where the debut left off. 'Clearest Blue' was Chvrches sounding, but dabbled in the art of the electronic music 'drop'. They pull it off pretty well, with another infectious track. Something Chvrches continue to do with tracks such as 'Keep you on my Side' and 'Empty Threat', with the latter focusing on Lauren Mayberry's bold fight against misogyny, predominately on the internet. A real highlight for me however is 'High Enough to Carry You Over'. A criticism of the debut could be that Martin's vocals weren't that great. Here, he delivers some sharpened vocals which provide a nice contrast to Lauren Mayberry's youthful tones. I think Chvrches have a bright future, let's hope they can continue this quality for a while yet.
8/10
End of the Road was great fun. A pretty small festival, that is really well thought out and designed. I thought there was a real eye for detail around the site which added to the already wonderful setting. I really couldn't fault it. It has it's own character and atmosphere, which all good festivals have. My favourite acts from the weekend were:
5.Girlpool
4. Tame Impala
3.Django Django
2.The War on Drugs
1. Mac DeMarco
Mac DeMarco really did steal it for me on the last day (even if The War on Drugs set was more headline worthy and grand). I think Mac DeMarco is a the musical equivalent of marmite. Firstly his music is of a particular style that would certainly royally piss off the more classic rock audience that End of the Road did have (hence the younger crowd for this set). However, if you're a fan of his music, then his charm and wit really add something to live performances. Especially when the rest of his band are as goofy as him. Also, the sound levels were on point for both him and The War on Drugs which couldn't be said for everyone. The joys of a festival... The War on Drugs were pretty faultless on the last night and Adam Granduciel was astonishing.
Tame Impala were good to see at last, but overall the sound levels let them down. Kevin Parker's vocals were pretty quiet and the bass guitar seemed to be the loudest thing on stage. Django Django were the surprise of the weekend, with a great 45 minutes of essentially the same beat. But, hey it was fun! Girlpool played to a pretty small crowd but were one of my favourites.
Overall, a great weekend in my home county. The War on Drugs, Tame Impala and Mac DeMarco in Dorset?! Never thought I'd say that! P.s Fat White Family are dicks.
Finally, without waffling on too much more. Wolf Alice played the Brixton o2 Academy last weekend. Drenge supported and were on top form as usual. Despite Eoin Loveless' vocals being a bit half hearted at times. Wolf Alice had sound issues from the start, with the live rendition of 'Freazy' being a real mess. Eventually the sound techies pulled their finger out and the sound was greatly improved towards the end. 'You're a Germ' and 'Giant Peach' were examples of the better side of Wolf Alice. They were definitely up for it... Homecoming gig, to their biggest audience yet. For me, they were a bit sloppy for the majority and that was intensified with some pretty abysmal sound levels for the first half. The crowd towards the back where I was standing were pretty much static for an hour. Their second album will be a test. We shall wait and see.
A quick review... as most of my "music" time has been spent playing vinyl. Yes, I finally decided to stop buying CD's and follow the crowd into the 21st Century (or back to the 20th century?! :/) and opt for the hug-able form of vinyl records. There really aren't many things better than browsing vinyl. A reason why I will never ever buy vinyl from the internet (I mean, really? What is the point in that). Tesco are stocking vinyl. Don't get me started. However, I urge the other person who reads this blog. DO NOT BUY VINYL FROM TESCO. Thank you.
So, Foals. The "math-rock" outfit from Oxford (only Radiohead to live up to then... ) Having used the term "math-rock" (yeah, what the fuck is that?), they are in fact a million miles away from that. The horribly average "Holy Fire" saw a change in their musical style, which for me was a step backwards and a huge stride away from what made Foals so appealing. "Total Life Forever" was lush in it's production and beautifully layered at times. More than anything, it was an incredibly catchy album, that made you want to dance. Yeah, even me.
So, 2015 has brought 'What Went Down' to the table. Early singles, 'What Went Down" and "Mountain at my Gates" both set the tone for a heavier, grittier album. The former I wasn't keen on at first, but it grew on me slightly. "Mountain at my Gates" however, I was a fan of from the outset. Yannis' vocals especially on this single are great. He really drives his voice through here and the outro of "Gimme my, Gimme me, Gimme my..." set against the hard hitting drums are a album highlight. Sure to be amazing live, I'd imagine. The hard hitting heights really do end here however... A frustration for anyone who really liked the feel of the opening two.
"Birch Tree" is a more classic Foals feel type of song. Which does kind of make the first two songs a false representation of where the band are going. Nevertheless, I like this track a lot. It's bass riff sets the tone, the guitars are twangy and minimal and Yannis' vocals are soothing. Towards the end, you are getting close to feeling the "Total Life Forever" and "Antidotes" vibe once more. Like I said, classic Foals. "Give it all" is next and really is an album highlight. This is a gorgeous track, with albeit another shift in style. The hollow and synthy intro, flows into a lovely and atmospheric blast of "Wooooooo, Wooooooo, Wooooooo"''s from Yannis that have to be heard to be greatly appreciated! Pitchfork, sign me up...
The next two tracks serve one purpose. Not to be listened to. "Snake Oil" I can actually listen to at a push, but "Albatross" I can't. I have no idea what the band are trying to achieve in these tracks. They are B-side quality at best, So, moving on to "Night Swimmers". Back to classic foals again! At this point, you enjoy individual moments, but there really seems to be confusion over what the band want. The bass and guitar work in perfect harmony here. Yannis' vocals are nice one again, even if what he is saying really isn't that interesting. At 2 minutes 20 however, the track does push the boat out a little with a grittier guitar sound to counter-act the twangy, indie hooks. It's bass and hard hitting back drop does provide a glimpse of what Foals could have produced more of if they had more ideas. A snapshot of what could have been? It doesn't reinvent the wheel by any stretch but it's something more akin to what the album looked like it was promising from the openers.
"London Thunder" is the classic (or perhaps obligatory) slow Foals ballad. The vocal delivery and build up of sound delivered in the chorus is decent, but outside of this there isn't a great deal to get excited about. The lyrics provide moments, but nothing compared to the imagery of say, "Spanish Sahara". "Lonely Hunter" is a real grower. Despite a pretty horrible intro (reminiscent of MK Ultra - Muse), which does sound like a Bond song intro it is a good track with a belter of a chorus. Yannis' vocals on the chorus are a real delight. "In the deep blue see the whitecaps from the shore But I can't swim, and it keep me wanting more".
The album closes with another single 'A Knife in the Ocean', which is an average closer. The echo-ey voals of Yannis are the highlight towards the end with a 'Climbing up the Walls' esque wail to round things off. This track does however, sum up the album in it's entirety. When it's good, it is really good... and it certainly has it's moments where it is a enjoyable and instantly recognisible Foals record. At other times, you really are scratching your head wondering where the band are heading and why they occasionally abandon, the formula that made them so like-able. That sounds hypocritical I know, as I do actually prefer that side to Foals. But his half way decision between new and old really doesn't work. Especially in the form of an album. I'm all for bands changing styles. evolving and trying out new ideas. The problem is, I don't think Foals know what they are striving towards.
Being a newcomer to London, I only discovered Elephant & Castle very recently on route to a visit to the Imperial War Museum. I think it is fair to say the area isn't tremendously appealing to the eye, nor particularly inspiring. Having said that, it's the location of formation for one of the UK's best and quite frankly, under-rated bands. Proud of their roots despite themselves calling it 'not eye catching', they struggled to get a grip on what their new record should be. It turns out the required inspiration came from the most uninspiring of places, home. In particular, the Faraday memorial on Elephant and Castle roundabout. Marks to Prove it is the bands fourth LP. At this point I should probably mention that the previous effort, 'Given to the Wild' is an incredible record and for me one of the best of the decade. High hopes followed... But also that overwhelming feeling that they couldn't top what they produced 3 years ago.
My verdict is this: Marks to Prove it is another glorious set of songs. Compared to other contemporary bands of the same genre, you can really feel the thought, warmth and care that goes into the album. Little touches such as the horns solo in the closing track, really add depth. The songwriting is as strong as ever, and instrumentally it is a balanced and consistent album. The soothing quality of Orlando Weeks' voice is what always draws me in to a Maccabees album, however. Especially on the more intimate moments. The verses on 'Kamakura' demonstrate this perfectly, sounding similar to Matt Berninger from The National at times. 'Silence', 'Pioneering Systems' and closer 'Dawn Chorus' also show off the hugely satisfying gentles tones of Orlando Weeks' voice.
However, The Maccabees have always loved a good single, and there are a couple here to keep the part time fans (not having a dig there!) more than happy. 'Marks to Prove it' sounds to me like the ultimate blend of everything they have produced. The rawness of the early days and the refined production of the more recent years. The song even follows that mould with it's to-ing and fro-ing from fast and slow tempo's. 'Something like Happiness' is another single, coming in at track 8. A highlight from the album, it's vocal delivery being a delight, along with it's blend of soaring instrumentation towards the end. As this song closes out, you really feel the band have peaked on the album. 'Spit it Out', is another single and one that took me by surprise. Different in its delivery, this track is more aggressive than anything to date. The guitars, bass and indeed the vocals are frenzied here, pushing the band away from the norm of prestine production.
So could this collection of tracks match the lush, mindblowing serenity of most of 'Given to the Wild'? For me, the answer is no. As mentioned above, this is a good collection of songs but as an album it doesn't quite have the same affect. Whilst the album hold it's own no problem, you do feel like the ideas are more sporadic and random than previous efforts. Ultimately, that comes to light when you play the album in full from beginning to end. This isn't to say the Maccabees have gone backwards, just that they had a clearer concept of what they wanted their record to be in the past. I defy anyone to listen to 'Feel to Follow', 'Ayla', 'Glimmer' and 'Forever I've Known' in sequence and argue the new music is superior. I like Marks to Prove It, but the special atmosphere on 'Given to the Wild' isn't quite there.
The Maccabees next album will be a huge one and will define what they shall be remembered for and ultimately, for how long.
Firstly, this blog has been born from reading a recent Pitchfork media article. I'd hate to claim the research as my own, but my views most certainly are!
I have always marveled at the artistry and craftsmanship of an album/record/LP. A collection of tracks solely designed to be delivered together in a particular order. That might sound obvious, but for me people have forgotten the beauty of albums and their strength and power when listened to as a single piece of music rather than separate entities. As music has evolved with the digital era, it has become ever more disposable and disjointed. Mainstream radio stations have always played singles rather than albums, but it seems the gap between listening to albums and purely enjoying a song here and there from different artists, is growing. Streaming platforms have of course made this easier, with any song off any album being readily available.
Therefore, imagine my surprise when I learnt this week that whilst album listens were in decline, they have been overtaken by a different form of musical collection - the playlist. Collections of music which perhaps share a common topic or purpose or are even just considered a good mix. Mix tapes for example have been around a very long time and I often enjoy them as part of an end of year/decade list. As useful as they may be, the music is rarely designed to be ordered and listened to in this form. So why is it more popular?
The Pitchfork article I mentioned at the very beginning revealed the following:
Free Streaming Listeners: Album 31% Playlist 45%
Paid Streaming Subscribers: Album 60% Playlist: 68%
Overall: Album 29% Playlist 31%
Music discovery is perhaps one answer. A collection of different tracks with different artists but within a particular genre, can offer listeners new music opportunities. Certainly a quick and effective method. Maybe collections of music need a greater purpose nowadays rather than for pure enjoyment. Fitness or gym workouts are a clear example of this. Music with a dance beat being what is important to the listener. Call me old fashioned but a playlist titled 'Songs to sing to in the shower' (this actually exists) doesn't fill me with excitement like a new album of music. Is there really any skill to assembling these songs? Let alone creating them with the vision of an album as the end result. Music is talent, skill and creativity. Some playlists scupper the creative element which a well formulated album possesses.
One pro-playlist campaigner argues that a benefit is the showcasing of smaller artists by including their 'best song'. Whilst any representation of a smaller artist is a good thing, who exactly decides what is considered an artists 'best song'? Are these always singles? How do they work in context with the rest of the album? Again, a good album is as much about order and relevance than just a decent 3/4 minutes of music. I can think of many albums where my favourite tracks are not considered popular or the most well known. 'Let Down' - Radiohead - OK Computer springs to mind.
I hope the album is here to stay. For me personally, it is musics most elegant, sophisticated and respectable form.
Music lovers rather than music consumers will most likely agree.
Psychedelia has been at the core of Tame Impala since their formation in Perth, 2007. In fact, with other Australian bands such as Jagwar Ma you could argue they are the world lead on drug infused modern rock (of course, psychedelic music doesn't actually require the use of drugs anymore... rock and roll, right?). However, perhaps psychedelic "rock" isn't the natural word for Tame Impala's style anymore. On this record at least. The catchy, wailing riffs of Lonerism have on the large part gone here; replaced with heavy synth beats and groovy bass. The results are masterful and propel Kevin Parker to the elite of modern day producers, multi-instrumentalists and songwriters.
It's the bold approach and execution which I adore about this album. Sure, some die hard fans of the band may be disappointed. However, bands who make a radical change to their sound yet manage to keep their essence are a rare breed. Enter Radiohead, Enter Kid A. I wouldn't be as foolish to compare the two albums, because they are different in multiple ways. But the same formula has been a success here, just to differing scales and magnitudes. Lonerism is to OK Computer as Currents is to Kid A. Again, I stress... nothing in my eyes can match the beautiful contrast of the soaring riffs of 'Electioneering' and those opening five notes of 'Everything in it's right place'.
The album begins with a track 7 minutes and 47 seconds in length. Another courageous move... A dragged out opener is quite possibly the worst thing an album can suffer. Luckily it doesn't happen often and it certainly doesn't here. I remember Kurt Vile putting 'Wakin on a Pretty Day' as a opener a couple of years ago. Just the 9 minutes and 31 seconds for that one. Thank god it was a killer track! 'Let it Happen' is glorious. It only takes 3 seconds for the keyboards to jump in and for the groove to lay its foundations. Already the dance-able feel that fills a solid amount of this record shines through. Equally, the beauty of Kevin Parker's vocals don't take long to be showcased. His vocals in general on this album are a thing to behold... and hugely infectious. The other instrumentation is as crisp as ever, as you expect with Tame Impala music. The track takes you on a journey of synth hooks and beats before layering a more typical reverb heavy guitar riff over the top towards the end. The composition of everything is a treat. A near 8 minutes of musical heaven.
'Nangs' follows... a typical Tame Impala interlude, with a dreamy, hazy feel complimented with hard hitting drums and trippy vocals. Note the synths again here, but also note the Tame Impala signature feel bleeding through it. Lovely stuff.
'The Moment' fuses glistening, swirly synths once again with a dark, sinister bass line. A recurring style throughout. The chorus echoes throughout with Kevin Parker singing 'ooohhhh, it's getting closer'. The groove is strong and the vocals are lovable. If there is any song on this record which could potentially sicken the die hard guitar enthusiasts (I was one myself once!) then the next track 'Yes, I'm Changing' is definitely it. The pace is slowered, but the synth and bass hold their glory. Some glistening, disco notes flicker from the keyboard throughout to quite possibly leave some fans open mouthed. Kevin Parker sings of a break up throughout this album, but really centers on it here. He is no stranger to this theme, but on 'Feels Like We Only Go Backwards' on Lonerism, we don't have this stripped back feel. The lyrics are gooey to say the least and the cynics could call the sentiments on offer to be as far removed from rock as you can possibly get. "But baby, now there's nothing left that I can do, so don't be blue, there is another future waiting there for you".
If you are one of those cynics and you've filled your bucket with vomit and tears, you might want to grab another for the next track. 'Eventually' does however, feature some guitars parts and small hooks to fill the small places in between the trusty synth, drum and bass norm. Kevin Parker sings once again of a break up, or relationship woes. Perhaps the narrative of this particular track follows nicely after 'Let it Happen' where Parker puts the two fingers up to compromise and working out a relationship for the sake of it. "All this running around, trying to cover my shadow". By 'Eventually', he has changed his tune to make a change... or even to end it all for the benefit of both parties. "Cause I know that I'll be happier, and I know you will too, eventually". A track which at first is hard to get your head round as a Tame Impala track, but a real grower. The ending section in particular is tranquil and hugely satisfying.
'Gossip' is another interlude thrown in for good measure. 'The Less I know the Better' is next and this track sums up the record and why I love it in a nutshell. The bass line is a belter, the keyboards are a joy and the vocals are Kevin Parker at his best. Tame Impala making you click your fingers, tap your hands and make you want to get up and dance. A sentence I never thought I'd see or write. This simply works, I don't care what any old school fan says! The lyrics are playful here and clearly refer to chasing a girl. "I was doing fine without you, till I saw your eyes turn away from mine".
'Past Life' is another track which feels galaxies away from anything Tame Impala have ever produced. A daft punk esque robotic voice provides the lyrics for the verses with Parker returning for the chorus. The lyrics are a little 'Digital Love' style cringy, but the actual tune and chorus in particular are glorious. "I always wondered if you wanted my love" is sung in conjunction with a lovely little drum fill and synth drop. 'Disciples' is a quick fire follower with more addictive bass and keyboard combinations, with the latter being some punchy disco notes. The vocals are beautiful again here and are a real Kevin Parker signature. It lifts, falls, extends and shortens in a way I cannot help but adore.
'Cause I'm a Man' was another single released before album day, along with 'Let it Happen'. The pace slows again, but the suave doesn't. "Because I'm a man woman, don't always think before I do". 'Reality in Motion' comes next and the beats don't let up. By this point you'd be forgiven to think Kevin Parker has done music this way forever. It sounds like Tame Impala, like everything before it does, but it has a new lease of life... or at least a very different one which isn't relying on guitar sounds. The chorus is remarkably catchy... "I've done all this waiting, vision ever fading". At this point, I rate the vocals as good as anything out there today. I think it's more personal preference and him just striking a chord with me, but I honestly enjoy it more than anyone else currently.
'Love/Paranoia' is the penultimate track. A deep, heavy track homing in on regret and self realisation of mistakes. The themes of love and paranoia/confusion do appear everywhere on the album. "I may not be as honest as I ought to be now that when the walls go up, I said it didn't worry me". "True love is bringing it out of me, the worst of me". A heartfelt track, a lyrical highlight and perhaps the most emotive song on the record. "Suddenly, I'm the phony one, the only one with a problem". We've all been there Kev, tell me about it!
Last track 'New Person, Same Old Mistakes' is a dark, heavy bass and trippy closer and takes the band the furthest away from guitars along with 'Past Life'. The title itself represents the entire narrative of the album. Perhaps along with the track before, a lyrical highlight. Kevin Parker sounds bitter and frustrated until 3 minutes in, when he momentarily shifts his voice up an octave or two and wails "and I know it seems wrong to accept, but she's got your demons, and she's got her regrets". He closes with a series of questions, pondering his learnt lessons..."So how will I know that it's right?". Confusion, misunderstanding and pondering thoughts feature as much here as all of his previous work. A great closer.
This is for me, the best Tame Impala album to date and one of the strongest releases this year. Despite it's differences to previous work, it never feels anything less than a Tame Impala album. The songwriting, instrumentation, vocals come up trumps here and it feels like everything done in the past has led to this album. A coming of age album and one that will live long in the memory. It is that good.
9/10
Other album reviews:
Bully - Feels Like: 6.5/10
Girlpool - Before the World Was Big: 7/10
