We’ve reached an age where nothing should surprise us any more, but Tame Impala’s rise from back room project to festival headliner is still something that gives hope to anyone writing music in their garage.
Kevin Parker’s overgrown project floats like a butterfly, with it’s gauzy late 20th century takes on modern R&B, house and electronica, but streams like a bee, racking up the sort of streaming numbers that only A+ hip-hop artists achieve. This combination gives him access too them as a producer but the ability to have complete control over what he does, the sort of license pretty much no other solo artist on the planet enjoys.
The Slow Rush won’t harm any of that. Following on from 2015’s superb breakthrough release Currents, Parker has applied enough new touches to reassure everyone there’s no treading water: on Borderline and Lost In Yesterday his talent for crafting abstract pop is doubly underscored.
Probably the biggest change is the emergence of the singer’s vocals from down in the mix on earlier efforts, an upgrade which brings home ideas of fame’s limited shelf life (on It Might Be Time) and his difficult relationship with his father (Posthumous Forgiveness).
There’s an ambition and sense of scale to The Slow Rush not heard in Tame Impala records before and if as with previous albums it seems like it might take a while to fully appreciate the whole show, then experience tells us that’s just fine.
You can read the full review here.