You can definitely hear the 808s in this one, giving the track an even trippier feel to what it originally felt like. Quite possibly one of our favourite remixes of Tame Impala is Rambo V’s take on the short, but wonderful track, Nangs. American producer, Memory Tapes, delights us with this triumphant piece of work, with its light bass lines and its amazing guitar riff halfway through. He does a great job on putting his somewhat rough and intricate spin on Lonerism’s opening track.įeels Like We Only Go Backwards (Memory Tapes Remix)Ĭhilled. Not exactly a remix as per such this time, but an entirely different reworking of Be Above It by Phantasy Sound’s boss, Erol Alkan. This track however, stands out from the crowd, making the once petrifying and beautiful track that was Let It Happen, spring into another dimension.
Soulwax are no stranger to the odd remix now and then, dazzling us with their take on LCD Soundsystem’s You Wanted A Hit and Jungle’s Julia.
We’ll start off with a track that we’ve already covered quite recently.
Tame Impala – Let It Happen (Good Night Keaton Remix). Tame Impala – Feels Like We Only Go Backwards (Memory Tapes Remix). Tame Impala – Be Above It (Erol Alkan Rework). Tame Impala – Let It Happen (Soulwax Remix). But, what’s the story when other musicians remix their work? Spoiler: It’s pretty damn great. It also provided a natural progression to 2020’s The Slow Rush, an even more immersive and personal synth-funk odyssey.How can you not like Tame Impala? We can understand if you’re one for the grittier sounds in music, but Kevin Parker’s psychedelic rock group have a tremendous amount of talent up their sleeve. And the risky decision to shelve guitars clearly paid off: Currents took Tame Impala to the big leagues, where he could now collaborate with Lady Gaga, get covered by Rihanna (a version of “New Person, Same Old Mistakes” appeared as “Same Ol’ Mistakes” on 2016’s ANTI), and headline Coachella. Evoking the mirror-ball dazzle of roller rinks and discos, here he continues to cherry-pick from the past in order to imagine a sophisticated musical future that’s appealing across multiple fronts but still strikes directly at the heart. Still, Parker doesn’t have to distance himself from formative heroes like Todd Rundgren and The Flaming Lips in the name of artistic growth. Meditative album closer “New Person, Same Old Mistakes” says it all. From the vulnerability displayed on “Yes I’m Changing,” which muses on growing older against unironic soft-rock motifs, to his interrogations of masculinity and romance on “'Cause I’m a Man,” Parker is still committed to airing intimate, almost diary-like sentiments. As lush as the production is (which you can hear in the joyous vocal layering and panning on “The Moment”), the increased scope of these songs is matched by the same rich emotional content, making it feel like Parker is sharing his most private moments. The band’s trajectory changed over the course of a single track, which stretches out over nearly eight minutes and indulges in remix-style record-skipping and lengthy stretches without vocals.īetween the disco grooves, Parker still finds time for Tame Impala’s sonic signatures-floaty vocals, soul-searching lyrics, fleeting interludes. Even fans who had noticed Parker’s increasing pop sensibilities across 2012’s Lonerism were somewhat taken aback by Currents’ bravura opening statement, “Let It Happen,” an ambitious dance-floor epic that foregrounded glitter-bomb synths and alternately dipping and peaking rhythms. Yet this third album saw him applying more painstaking control than ever before, not just playing and writing every single part but recording and mixing the entire thing as well. Parker had always made Tame Impala records as a solo endeavor, using a proper band primarily to realize songs in a live setting. That meant mostly sidelining guitars and ramping up the lead role of those synths. By the time Currents arrived in 2015, the Fremantle home-studio whiz had made his grandest leap yet, offering his particular take on outsized, club-ready pop. Tame Impala may have been forged in the familiar fires of guitar-driven psych-rock, but Kevin Parker began expanding that brief almost immediately, shifting from dank, distorted solos to widescreen, synth-swept fantasias.
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