IN REVIEW: Tame Impala - "The Slow Rush"

Kevin Parker's output as Tame Impala has undergone some pretty drastic changes over the decade-plus of its existence; the fuzzy psychedelia of his early work morphed into the synth-punctuated breakthrough of 2012's Lonerism in a way that made sense from a musical standpoint, with the use of keyboards adding layers to what was already there and scoring Tame Impala legions of new fans in the process.

The seismic shift came with 2015's Currents, with those synths and beats becoming the focal point of Parker's vision; while the move puzzled some fans at the onset, most came to accept the change. It turned out to be not just an artistically satisfying jump, but a commercial one as well, and Tame Impala was soon enough headlining major festivals with a live show that had to be seen to be believed. These factors have made The Slow Rush one of the most anticipated releases of the year.

With his fourth Tame Impala full-length, Parker continues to push into those synth-heavy waters, albeit with some new influences; One More Year opens the album with heavy processed vocals and a beat indebted to '90s house music, while Parker coos softly over a host of sounds. It's clear from the jump that The Slow Rush is best enjoyed with good headphones, and your decision to take the album in this way offers far more reward than simply using it as background music in your car or on your phone speakers; these songs are thickly layered with sonic pathways to explore freely.

Perhaps one of the biggest differences to be drawn between Currents and The Slow Rush is in the production; working with hip-hop luminaries has given Parker practice at the art of the beat, and the drumming on The Slow Rush is weightier, the beats more R&B groove oriented. This results in a handful of substantial slow jams, like early album highlight Instant Destiny with its booming bass and immediate chorus. 2019 pre-release single Borderline is meatier here as well, with a few fresh layers added to really flesh out the track's groove. Posthumous Forgiveness' first section features an easy-going groove and a guitar lick that begs to be sampled, while Breathe Deeper goes hard on '90s pop/house. Tomorrow's Dust, with its sunny acoustic flourishes, is what I imagine Radiohead might sound like if Thom Yorke had full creative control and had an even greater urge to dance.

The album's second half offers just as many, if not more, thrills; On Track is what Parker describes as his attempt at "'70s power balladry", but its beat elevates it well past whatever expectation that description puts into your head. Current single Lost in Yesterday is perhaps the album's biggest pure pop moment, its chorus and mixing the stuff of a Michael Jackson fever dream. That's followed by the sinewy groove of Is It True, one that's sure to set asses in motion at Tame Impala's next round of festival appearances.

All of this happens before we even get to It Might Be Time, the monstrous Supertramp-via-Daft Punk earworm with its mammoth beat drops and siren-song synths; it's a massive song that is, after dozens of repeat visits and five complete spins of The Slow Rush, firmly the album's high point to these ears. Its lyrics tell the story of an aging has-been, and Parker may get there someday, but with tracks this booming and pleasing, I feel like we're a ways off from that.

The album ends with a 2-minute dance interlude and the 7-minute slow burn One More Hour, which builds up with suspenseful organ and is punctuated by stabbing guitar. As an album closer, it's an absolute show stopper that's only deflated somewhat by its closing dénouement and a fade out that robs the album of a sense of finality.

Admittedly, there isn't anything that grips quite as hard as Currents highlights like Let It Happen or New Person, Same Old Mistakes; and anyone pining for another Half Full Glass of Wine or Elephant isn't going to find it here. Instead, we get what's perhaps the most focused and thoroughly enjoyable Tame Impala record to date. It's diverse enough to not be much of a slog over its 57 minutes, and there's very little present that doesn't feel necessary to the album as a whole. What I would recommend if you're a little underwhelmed by the singles is to take an hour out of your day and approach The Slow Rush as the multi-tiered, triumphant sonic experience that it is.

February 14, 2020 • Modular
Highlights Instant Destiny • On Track • It Might Be Time

Year in Rock 2025

Alright, I've got some explaining to do. By now anyone who's visited this blog is well aware of how infrequently I've used this space in recent years; aside from the occasional fertile year of content, I really haven't posted all that often over the last five years or so. There are many reasons for this, which have already been outlined in previous apology posts; but, essentially, it boils down to my own laziness and the cold reality that blogs are, like Refused (again), fucking dead. So, I wouldn't hold my breath for a triumphant return to reviews, or even semi-regular posts, but: a) I feel like Year in Rock posts have always belonged here and, even though I've experimented with different methods of presentation recently and been satisfied, the "blink and you missed it" unveiling via Facebook stories this year was perhaps ultimately a disservice to the records I lauded. After all, cramming the list into short videos isn't too far off from ju...

Year in Rock 2011 Nominee: Sam Roberts Band

SAM ROBERTS BAND I Feel You From: Collider Released: May 10 Having already endured the breakout success ( Brother Down was Canada's it rock song of 2002), the tentative dabbling in the U.S. market, as is the rite of passage for all moderately successful Canuck artists (2003's debut We Were Born in a Flame was the best time to try; one of the best albums of the year, it made a small dent in the American mindset upon its release there a year later), the difficult, druggy third album (the aptly named 2005 disc Chemical City ), and the subdued creative step backward (2008's Love at the End of the World , aside from hit single Them Kids , was really kinda bland), it seems according to script that Sam Roberts would start settling in on his fourth album (and first with the band credited as equal contributors), Collider (you know, I think it was a bad idea to give me brackets). Well, as far as settling in goes, Roberts does and doesn't on Collider . W...

IN REVIEW: Rancid - "Trouble Maker"

As far as punk rock goes, it's hard to name a hotter hot streak than the trio of records Rancid cranked out between 1995 and 2000; the star making ...And Out Come the Wolves , the far-reaching Life Won't Wait and their balls-to-the-wall second self-titled album solidly positioned Rancid as leaders of the second generation of punk. It also preceded a period of slow progression, as Rancid would take eleven years to release their next three records. By the time ...Honor Is All We Know came in 2014, many fans (myself included) had to wonder whether or not this was the end of the road. Such concerns are handily dealt with on the closing track of the standard edition of their ninth record, the positively punishing This Is Not the End . Well, okay then, that's sorted. Now, what of this new record? What do we make of the use of their original logo on the cover, a logo that hasn't graced a Rancid record in 25 years? Is this a throwback to the band's heyday, a new begin...

SOUND BITES

Search This Blog