Pop culture’s last few years have once again proven the circuitous nature of mainstream music. First we saw Robin Thicke’s “Blurred Lines,” which is virtually a cover of Marvin Gaye’s “Got to Give it Up,” and now the charts have been invaded by Bruno Mars’s “Uptown Funk” and its suspiciously strong influences of The Gap Band’s “Oops Upside Your Head” and Michael Jackson’s “Jam.”
So when Tame Impala’s founder Kevin Parker described the purpose of his new album “Currents” to “The Atlantic” to be to “convince a few die-hard rock fans that ‘80s synths can fit over a ‘70s drum beat,” a few were understandably concerned.
After all, “Lonerism” gained universal recognition and had already set unreasonably high standards for its sequitur. Parker had two possibilities: to redo a winning formula but suffer criticism for a lack of innovation or dive into the abyss of the unknown and take a serious risk of losing newly acquired fans. He clearly chose the latter.
Yet the release of “Let It Happen,” the first track on the album, showed the risk paid off. It had a completely unique sound: almost a disco-like feel with minimal guitar, something that had never been heard before by the group. Appropriately enough, the lyrics also signified a drastic change; this appeared to be a break-up album of the ages.
And in some manners, it was. Instead of whiny melodies to accompany melancholy lyrics, Parker created the audio experience of a psychedelic trip to convey his emotions. Listeners can zone out some parts of the album but there are plenty of highlights to wake them back up. Although Tame Impala has often been criticized for being too synth-heavy, the yin and yang of featured instruments on “Currents” speaks for itself.
“Elephant” and “The Moment” have a very similar dream-like electronic sound before the group completely breaks the pattern in “Eventually” by playing hard-hitting guitar and percussion. “The Less I Know the Better” is another clear stand-out with a heavy bass, catchy tune and haunting lyrics.
In an interview with Pitchfork, Parker has identified “himself as a friendly rival of Jamie xx,” and this album can certainly back his claim. Very few artists can take a topic as cliché as a breakup and turn it into a true innovation.
“The Less I Know the Better,” for example, is essentially a diss-track about his ex-lover’s newest pursuit. We’ve seen this a thousand times before; it hardly turns out to be an impressive or special track. Yet “Currents” gives a completely different feel and sound to the “woe is me” thoughts we all know so well. Parker somehow managed to turn a broken heart into a breath of fresh air.
That’s the same kind of ingenuity for which Jamie xx is known; for example, xx’s “Stranger in a Room” is a love song to a mystery girl. One of the oldest stories in the books. It’s evident that xx and Parker both have the ability to turn seemingly mundane lyrics into something incredibly profound.
“Currents” also features more R&B and hip-hop influences than are usually seen in the psychedelic rock or pop genre. “Love/Paranoia,” for example, has almost a subtle trap beat in the background. The same can be said for “Past Life.” These are the kinds of changes that qualify “Currents” to be a fantastic transitional album in every sense of the word. As time goes on, as people move on, life is forward-flowing rather than a whirlpool.
Parker took risks and has once again moved away from the old sounds he mastered, giving us an ironic but appropriate sequitur to 2012’s “Feels Like We Only Go Backwards” on “Lonerism.” And at the same time, Parker was true to his word that the album would put “‘80s synths can fit over a ‘70s drum beat.” As “Eventually” conveys on this album, Tame Impala gives us the feeling that time has rewound and the old is being made new again. With this in mind, it is virtually impossible to be disappointed by this LP. Even if the music is not your favorite, the ingenuity demonstrated demands appreciation. It will certainly be interesting to see where the currents carry Parker and crew next.
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