“Grateful for what we get to do in Perth,” Parker wrote after the two-night run. Other surprises arrived with the band’s first “Beverly Laurel” since 2014 and a late-set segue into AC/DC’s “Thunderstruck.” Live debuts from the evening included Currents B-Side “Powerlines” and the very brief “Gossip.” Setlists from March 5 and March 6 were identical, with Tame Impala opening with Lonerism tracks “Apocalypse Dreams,” “Enders Toi” and “Keep on Lying.”Īfter Currents‘ “Nangs,” the first The Slow Rush song arrived with “Borderline” and Parker and company even covered frequent collaborator Mark Ronson with “Daffodils.” (Parker previewed the Tame Impala Sound System on his recent Tiny Desk (Home) Concert.)Īnd, indeed, bandleader Kevin Parker showed off the new setup with a slew of new cuts – off 2020’s The Slow Rush – as well as some unexpected covers. “Wielding their overflowing arsenal of synths, sequencers and samplers to rework and reimagine tracks from the Tame Impala discography and beyond, Tame Impala Sound System is a pulsating, fully live and organic, free-flowing digital jam out,” reads an official description from the band. Because I would definitely listen to it on repeat.As COVID numbers continue to drop down under and community spread remains under control, Tame Impala revealed a new “Tame Impala Sound System” show in Perth, Australia this weekend, playing a pair of sold-out shows for music fans. It’s almost unfortunate that this minute-long groove isn’t its own track that can be put on repeat by itself. Parker sings a few little background lines but you can hardly understand the lyrics and it doesn’t matter. This unexpected, standalone outro section grooves like mad, introducing a scrape-y distorted synth pattern that just shakes its ass all the way until the song’s real ending. But not only is there more milkshake, but it’s magically – impossibly, confoundingly – a different flavour entirely that’s even tastier than the original milkshake. SIC! There’s more! You slurped the last drop of milkshake and didn’t realise there was a metal canister with EVEN MORE MILKSHAKE. Maybe I’ll start it over again from the beginning so I can hear it again. Parker might as well have sampled it directly off the opening bars of Warren G’s “Regulate”. Like the burbling fart of an electronic didgeridoo.
The elongated synth notes that enter here sound AMAZING. It has this silvery, swishy reverb that occasionally echoes back, call and response. It’s both catchy and low-key adorable.Īlso, I love the vocal effect on his voice. A one-man band creating his own background-singer doo-wop garnish. After every line, singer Kevin Parker tacks on this this plucky, upbeat little “ I can!” Like a tagline on a tie-dyed, motivational blacklight poster. It almost sounds like a taut rubber band being flicked and amplified. The funk-bass refrain that opens the song has such a pleasant, round-rubbery chonk to it.
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