9/10
One EP and three albums deep, Kevin Parker – AKA Tame Impala – is finally free. Once shackled by the often obligatory, dismissive comments surrounding his breakthrough album ‘Innerspeaker’ and its place in the psych-rock revival genre, Parker has slowly but surely broken free from those backwards and unnecessary chains. He’s always going to sound like John Lennon, there’s no way around that, but on ‘Currents’ Parker sheds his skin to reveal his most luscious, expansive and honest record to date.
‘Currents’, unlike any other previous Tame Impala release, marks the first time that Parker has handled literally every aspect of the project. Parker writes, sings, produces, masters and records every instrument, suddenly creating an inescapable need to label ‘Currents’ as a watershed moment in both the discography of the band and Parker’s growing notoriety and identity. Tame Impala is now – more than ever before – Kevin Parker, as reflected in every aspect of the album’s production. Long gone are the hazy guitar-led tracks like “Solitude is Bliss” and “Elephant”, rather opting now for heavy synth and bass, colliding the two in ways that not only signal a distinct change in audial direction but a nod to the interchangeability between once perceived separate worlds – psych-rock, electronica and even RnB. Take “Love Paranoia”, the LP’s penultimate song, which carries no trace of fuzzed guitar licks. Rather Parker’s vocals enter in front of soft harmonies before quickly taking flight and soaring above ethereal synths, heavy bass drops and scattered drum rolls and claps. The cut possesses this undeniable groove and sultry RnB feel, whilst simultaneously emanating a nostalgically retro vibe; just one of the many successful splices of ’70s, ’80s and modern day inspired arrangements.
‘Currents’, on face value, contains numerous songs documenting the pit-falls of relationships and the universally accepted shitty outlook on unsuccessful love. There’s the break-up standout “Eventually”, doubling as the most openly psych-rock track here, as static kicks off the cut before abrasively warped guitars and metallic drums force their way through the noise. Additionally, “Cause I’m A Man” details Parker’s own shortcomings by playfully upholding his uncontrollable subscription to the supposedly more idiotic and mistake-prone gender. Interestingly, Parker seems to be simultaneously avoiding blame and firing it right back on the recipient of his ill-advised decisions. And that’s the secret here, that whilst there are these songs that lyrically masquerade themselves as love songs or break-up tracks, the running ethos on ‘Currents’ reveals itself between the lines and in its production. It’s not so much a breakup with a companion, but rather with all that has defined Parker up to this point, allowing the tortured-self genius to shine through and self-indulge lyrically and sonically. Take “Let It Happen”, the expansive and sprawling seven-minute-long cut reads as an ode to Parker’s past and immediate future. As the track swivels around a futuristic guitar pluck, a shadow looms in the form of an ominous mirrored synth drone and ever so subtly the writing on the wall becomes painfully apparent – “…I can’t fight it much longer, something’s trying to get out…”
‘Currents’ rips through its dense arrangements and thematical depth in the most meticulous and determined of ways. Consisting of multiple standouts, which traverse once gigantic gorges in both genres and influences, ‘Currents’ somehow manages to lay down an even playing field on top of a rippling and dynamic undercurrent of sound, images and desires. There does however exist one song that encapsulates every tangible effort from Parker to deviate his sound inwards and bring his new found confidence outwards. “Yes I’m Changing” floats in both its pace and arrangement, as Parker strips back the energy and bass, placing synths on top of one another in the background to exist as merely a supplement to the already celestial vocalisation and muted drum progressions. Here, Parker’s voice is clearer than ever before as he plainly croons the unofficial motto of the record “…yes I’m changing, yes I’m gone…” And with that he’s off, expanding his horizons and only moving forwards, leaving us, the fans, the listeners, his friends, his family, whoever it may be, to either let him go or tag along for the ride.