#Meaning of tame impala let it happen professional#
Two years later, at 18, as the guitarist in a band who came second in a competition, winning a day at a top Perth studio, Parker became instantly disillusioned by the experience of working in a professional recording facility. I was using the EQ and compressor without even knowing what those two things were. Like, just every day, every night, with a pair of headphones. 'There's no other piece of equipment I have that I've used as much as that thing. It was almost kind of emotional, 'cause it's got bit of gaffer tape on it, and the dirt around the record button. 'It's the first time I've held it in my hands in years. 'I was cleaning some stuff out in the shed the other day and I came across it,' he says. Also, because, in my 11-year-old naivety, I thought I was the first person to ever have done that (laughs).' At 16, he was given the gift of a Boss BR-864 8-track digital recorder by his parents. But I had this kind of epiphany, listening back to myself playing keyboard over the top of drums.
#Meaning of tame impala let it happen how to#
'I didn't even know how to play keyboards,' he stresses. Then, in a crude form of overdubbing, he'd tinker around on a Casio keyboard as the drum tape played in the room, recording the combined results onto a second cassette deck. Kevin Parker's fascination with recording was sparked by his discovery, at home at the age of 11, that he could record himself playing drums on to a cassette using the family hi-fi system. Kevin Parker at his studio near Perth, Australia. Or just because I didn't want it to sound like how everyone else's albums sound.' I was afraid of learning new things, from a narrow-minded perspective. 'I rejected those kind of accepted techniques, but I've been interested in them recently,' he says.
While having an inherently rebellious attitude towards accepted engineering techniques, he admits he's now doing things more by the book, as well as continuing to bend and break the rules. 'Now that this whole thing's happening, I have to go and put my money where my mouth is.'Īs Tame Impala's success has vastly increased, so has Parker's collection of gear, with his studio now equipped with an array of vintage preamps and compressors and a Studer 963 mixer.
'I feel as if I've been tooting my horn about loving working in isolation my whole career,' he grins. When SOS connect with Parker in Freemantle via Skype, with Western Australia in lockdown and all of his touring postponed, he is back to doing what he loves the most, namely spending all of his days and nights recording. At the same time, the 34-year-old has earned a well-deserved reputation as someone deeply involved in audio experimentation, through what he's previously described as the 'juxtaposition of sound quality', mixing high-end sonics with lo-fi. Parker has chalked up two Top 10 albums in the UK and the US with The Slow Rush and its 2015 predecessor Currents, which successfully located the unexplored middle ground between Pink Floyd and Michael Jackson. Growing from a bedroom project to one now operating out of Parker's elaborate beach-facing studio in Freemantle, just outside of Perth, Australia, Tame Impala remains a solo recording project, but expands live to a five-piece band. Over the course of nine years and four albums, Kevin Parker, trading as Tame Impala, has made huge sonic leaps from his 2010 debut Innerspeaker's modern reimagining of '60s guitar-based psychedelia to the electronically coloured, kaleidoscopic pop of The Slow Rush in 2019. No two Tame Impala albums sound the same - but they've all been driven by the same experimental ethos.
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