Tag Archives: Tame Impala

[Psych Rock] Jagwar Ma – OB1

Posted by Dominic Powell - July 16, 2016

Jagwar Ma
O B 1

I was first introduced to Jagwar Ma via BIRP’s May 2013 release. In “Man I Need”, I found a 9-minute long primer to what would soon become a favorite genre of music. The influences of indie rock, glitz-pop, and psychadelia came together to form a symbiotic masterpiece with each piece complimenting the others. While Jagwar Ma has been touring regularly, fans have not been exposed to new material since the debut of Howlin’ in 2013. This week, the first single from the soon-to-be released album Every Now and Then, “OB1” has hit the airwaves.

Opening with a glitzy, reverb heavy loop set under Gabriel Winterfield’s vocals, the track wastes no time to root itself in the same psychedelic framework that made the band so popular in 2013 – and propelled Lonerism to universal acclaim in 2012. “OB1” plays out nicely over the course of a lengthy five and a half minutes, giving an ode to previous works like “Uncertainty” and “The Throw” which take equally as long to build up.

As the song unfolds, a subbed out bass line and a 90s-rock guitar riff carry the bridge and the hook respectively. Overall, “OB1” is a return to form for Jagwar Ma and gives fans a hopeful glimpse into what is in store from them in the second half of 2016. In addition to dropping a new album, fans can catch what is – in my personal opinion – one of the best live performances that exists all over the globe this summer and fall. Jagwar Ma’s website can be found here and a few of their tour dates are listed below the music video.

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[Soul/Hip-Hop] Hiatus Kaiyote – Laputa (Taylor McFerrin Remix) Feat. Anderson .Paak

Posted by Dominic Powell - April 18, 2016

Hiatus Kaiyote
Laputa (Taylor McFerrin Remix feat. Anderson .Paak)

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The current era of music has seen a shift in which risk-taking is rewarded. Those who have pushed genres into the forefront, or combined technical aspects across previously uncrossed planes have been showered with praises of ‘breakthrough’ and ‘genius’.

Comparable to the way in which Tame Impala championed psychedelia and had universal success, Melburnian band Hiatus Kaiyote is still waiting to reap the same scale of appreciation for operating in their own niche of the musical landscape.

“Under appreciated” is usually not a phrase used to describe multiple Grammy-nominated bands, but HK is by no means as recognized as their talent would dictate. Leading the way in the future soul and nu-jazz realms, they have been immeasurably successful in outpacing their contemporaries since their formation and debut album release in 2012.

Following up with Choose Your Weapon in May of last year, HK has since slowly gained recognition for their structural aspects and skillful composition. Further demonstrating the versatility of their sound, the quartet released their newest EP, Recalibrations, Vol. 1, a collection of remixes which came out this past Friday.

With the collaborative efforts of solo artist Taylor McFerrin and up and coming producer / vocalist Anderson .Paak, listeners were graced with a remix to “Laputa,” which debuted on their 2015 album Choose Your Weapon. The original, a song praising the Hayao Miyazaki film by the same name, is a minimalistic track that relies heavily on the talented vocals of lead singer Nai Palm. The remix, put together by frequent collaborator Taylor McFerrin (see their previous work together here), is a perfect extension of what existed previously.

Injected with a dreamy, beatboxing style seen in his own solo works, McFerrin’s “Laputa” takes a turn towards a redeeming love song following a psychedelic-synth bridge at the 2:00 mark. Anderson .Paak, capitalizing on the success of his January release, Malibu, provides the finishing touches by smoothly and soulfully rapping to the conclusion of the song.

With Recalibrations, Vol. 1 available now on iTunes, Hiatus Kaiyote will be touring the world and making believers of their brand one city at a time; they will be playing Lollapalooza, Osheaga, and Outside Lands to name a few. Fans new and old can keep up with the latest releases on their Soundcloud page.

[15 To End 2015] Ninja Ash’s Best of the Year

Posted by Ash El Gamal - December 31, 2015

When you listen to music as much as I do, your song selections and life experiences become inseparable–each impacting the other in both conscious and subconscious ways. That relationship embodies the uniquely subjective nature of music. You can listen to a song ten times and think nothing of it but then hear it in the right context or headspace and everything just clicks. As such, any effort of making an objective “best of” list proves a fruitless task. So rather than attempt that Sisyphean task, my ’15 To End 2015′ captures the songs that meant the most to me this year: ones that soundtracked my best memories, comforted me at my lowest points or simply possessed endless replay value. Peep my favorites of 2015 below. Hopefully they’ll take on a life of their own in your music collection.

’Beach House – Space Song’

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A trip to psychedelic space land–just close your eyes and absorb.

’The Internet – Under Control’

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A fresh and endlessly relatable take on R&B from Syd & co.

’Thundercat – ‘Them Changes”

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Built on the same Isley Brothers drum sample as “Today Was a Good Day,” this funk-injected jam crescendos a year full of nostalgia for the era of Parliament, James Brown & Sly Stone.

’Main Attrakionz – Ain’t No Other Way’

Soundcloud

Feel good Bay Area hip-hop for and from the soul.

’Raury – Forbidden Knowledge (feat. Big K.R.I.T.)’

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An absolute lyrical gem from a young artist with wisdom well beyond his years.

’Kendrick Lamar – These Walls (feat. Thundercat, Bilal & Anna Wise)’

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My most played song from my favorite album of the year: ‘To Pimp A Butterfly.’

’Jamie xx – I Know There’s Gonna Be (Good Times)(feat. Young Thug & Popcaan)’

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It’s hard to pick a favorite song from Jamie xx’s ‘In Colour’ but this summer anthem flipped pretentious listeners on their heads while showcasing the merits of melodic emcees.

’Shamir – In For The Kill’

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The danciest track from the year’s most pioneering pop vocalist.

’Mura Masa – Lovesick Fuck’

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In 2015 Mura Masa continued to prove his dominance in the realm of emotional future bass. This is easily my most played track of the year.

’Big Wild – Aftergold’

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‘Aftergold’ captures Big Wild’s genuinely organic approach to electronic music–one full of sonic plot twists and playful melodies.

’Lane 8 – Loving You ft. Lulu James’

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Lane 8’s compositions shaped my year and “Loving You,” the opener of his debut album, brings to mind feelings of excitement and new beginnings.

’Kenton Slash Demon – Harpe’

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The capacity for emotional power within an instrumental composition should never be underestimated–‘Harpe’ proves that.

’Tame Impala – Let It Happen (Soulwax Remix)’

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The magnificence of Tame Impala and the rare emergence of Soulwax combine for infinite grooves.

’Billy Kenny – I Eat Beats (Ardalan Remix)’

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This song is single-handedly responsible for piquing my interest in tech-house.

’Sonny Fodera & Gene Farris – We Work It’

Soundcloud

I listened to this every time I worked it in 2015.

[15 to End 2015] Ninja Dom’s Best of the Year

Posted by Dominic Powell - December 30, 2015

As a sweeping generalization, 2015 will go down as a year dominated by collectives. Future Classic, Hegemon, Moving Castle, Soulection, HW&W, Wedidit, Monstercat, and French Express pooled their talents together to commandeer the music scene this year. The technical aspects commonly associated with “Future” crept into the DNA of producers, becoming a topical theme across genres from the most obscure to the most mainstream.

In particular, and as one of the most recent additions to the TMN staff, it has been quite a journey both as a contributor and music fan since early April. Without the collaboration of the entire staff – the guidance of editors and advice of my fellow writers – year one as a ninja would not have been possible. Along the way I’ve covered tours, shot music festivals, and met some of my favorite artists, who have graciously exposed me to their own intricate webs of sound. That being said, below is my best effort to reduce thousands of great tracks released this calendar year down to a manageable number. Enjoy the tracks below, in order of release date, and see you all next year!

’Oceaán – Veritas (Young & Sicks Mixed Feelings)’

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Although it has nearly been removed from all channels of the internet, this remix of Veritas is a fluid tune, incorporating contrasting techniques in a way that set it apart this year.

’OBESØN – Mon Amour’

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This is both my favorite song ever and the answer to the hypothetical question “if you could only listen to one song for the rest of time…”

’San Holo – We Rise’

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Deserving of a spot on all lists, this has been the de facto party-starter and pregame anthem since it’s release in February.

’Alison Wonderland – Run’

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The title track from AW’s debut album taps into the talents of fellow producers Djemba Djemba and AWE in creating this hooky, electronic masterpiece.

’Mura Masa – When U Need Me’

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For an artist focused on quality over quantity, this is Mura Masa’s greatest creation to date.

’DIVERSA – Burning House’

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Burning House is the most powerful release of Diversa’s, serving as a benchmark for the current wave of Drum & Bass producers to measure up against.

’Jamie xx – The Rest is Noise’

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Jamie XX has been graced with near unanimous approval of his album In Colour; The Rest is Noise incorporates his most polished elements in a lengthy rainbow-colored instrumental.

’Tory Lanez – Acting Like (Prod. by Shlohmo)’

Soundcloud

Another up and coming artist out of the blooming Toronto hip-hop scene, Tory Lanez, enlists the help of Shlohmo in putting together this dark, rhythmic jam.

’Golden Vessel – Borrowed Time (ft. Tiana Khasi)’

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Melbourne locals Golden Vessel and Tiana Khasi teamed up to create one of the most enchanting and soulful pieces of the year, bar none.

’Thundercat – ‘Them Changes”

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As the most groovy track of the summer season, this was also an introduction and revival of the nostalgia-pumping funk genre, which used to dominate the charts.

’Tame Impala – The Moment’

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Parker shows off his adaptability on this one; in cutting the downtrodden lyrical content against a synth-driven bridge full of cheery guitar riffs and rhythmic hand claps, the single is inextricably linked with the bridge in fellow Australian band Pond’s recent release, “Medicine Hat”.

’Moi Je – Fais Rien (PETIT BISCUIT Remix)’

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Although the title literally means ‘do nothing’, it is nearly impossible to hear this remix by Petit Biscuit and not be tempted to move by the upbeat tempo.

’Khai – Do You Go Up’

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This bubbly, minimalist tune is carried on the strength of its hook and the catchy vocals of its creator.

’SevnthWonder – Maria I’m Drunk (Ft. Deverano) (Travis Scott Cover)’

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As the most notable track by the best up and comer out of 2015, this remix displays a vision and creativity beyond SevnthWonder’s years.

’Finding Hope – Wonder’

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With roots in the ambient genre, down-tempo is the most calming style of music. The deep, pleasant reverie continues through Wonder and does not end until the close of the song.

[Electronic] Tame Impala – Let It Happen (Soulwax Remix)

Posted by Ash El Gamal - September 10, 2015

Tame Impala
Let It Happen (Soulwax Remix)

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Belgian electro-rockers Soulwax established themselves as legends in electronic music over ten years ago just as the genre hit its stride in the mainstream. As of late, though, there have been scarce sitings of the pioneers–the most recent appearance being their fantastic remix of Jungle‘s “Julia.” It comes as little surprise that Tame Impala‘s phenomenal latest album Currents catalyzed new material from the trio who released a rendition of the hit single “Let it Happen” a couple days ago.

Initially, Soulwax draw the listener in with an arpeggiated backdrop keeping Kevin Parker’s vocals in-tact before dropping in a groovy bass line with steady, tribal-leaning percussion to match. As the song hits the 4-minute mark, the song’s interlude and distinct guitar riff perfectly accompany the rhythmic backdrop which takes over the remainder while interweaving various elements of the original. Running over 9-minutes, it’s the type of track that requires patience that’s well worth it–continually growing in appeal with every listen. There seem to be some hints on their social media pages and hopefully the inspiration Soulwax has found in these recent tracks results in some new original music. In the meantime, let this one sink in.

14 Unforgettable Sets from Outside Lands 2015 [Festival Review]

Posted by Ash El Gamal - August 13, 2015

It’s been nearly a week since we first stepped into Golden Gate Park for Outside Lands, but with the return to the daily grind it feels like even longer for most of us. This year’s festival, yet another record-breaking one by attendance, featured all the amenities that make OSL special–amazing food, craft beers, a star-studded comedy lineup, the beautiful backdrop of Hellman Hollow and of course a top-notch bill of musical performances. With its rapid expansion came some growing pains as well, though, and our main gripe was the inaccessibility of the Heineken House, which featured some great DJs, due to overcrowding. At the same time, the greater depth of the lineup made the previously overlooked Panhandle stage the place to be and when the crowd came together at shows, the energy was unbelievable.

In the stupor that follows music festivals, it can be easy to allow your precious experiences to fade in the rearview of your memory bank, but there will always be sets that you’ll never forget. We’ve recounted 14 sets that have been stuck in our minds all week and also tried something a bit new with this review by asking random fans to review our favorite sets. If you were in attendance this year, we hope this brings you back and, if not, it might just make you want to check out OSL next year.

All images by Ninja Dominic Powell. All writing, unless otherwise noted, by Ash.

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[Album Review] Tame Impala Ventures Into Unknown Territory With ‘Currents’

Posted by Dominic Powell - July 18, 2015

In exchange for their sometimes fickle loyalty, music fans of every background expect an unreasonable level of appeasement from performers. Demands include personal relatablity, a constant flow of tunes, selfless humility, and to be generally well received but not “too popular”. The music community does not necessarily expect longevity.

Even the most obscure and unorthodox genres get their time in the spotlight before receding back into previously held supporting roles; the artists that operate in and dominate these roles must too come and go. At the moment, the genre known as Future is being called to the stage; a delicate balancing act between gaining traction among the majority while keeping its compelling novelty ensues. Overall, Future has encountered relatively nonexistent pushback from the established main characters, who seem content to continue recycling the decades-old blueprints to success in their respective fields.

By redefining what can even be described as instruments, artists are incorporating 8-bit video game tunes, flipping ringtones, adding bizarre ambient noises, and continuing to blur the understanding of what we define as aesthetics. Producers of the modern day get away with this level of provocation because aesthetics as an idea is amorphous. Factors like exposure, maturity, and setting can lead to a harsh sounding guitar solo today being reinterpreted as a masterpiece tomorrow.

Under this fluid theory, every music fan can point back in time to a specific album or artist that gave them a different outlook on music as a whole. Whether it be the immortal first album of Kanye West, the discovery of Grizzly Bear’s folksy Veckatimest, danceable mashups by Girl Talk, Toro y Moi’s funky Anything in Return, Kid Cudi’s hijacking of the hip-hop scene, or the first time Skrillex blasted through the speakers at a party, passing through phases of music is a part of self-discovery that is both identifiable and incomparable. For a year – or perhaps a few years – listeners will continually recalibrate their ever-changing but never dying love of sound until said aficionados revert back to their audial comfort zone. This week, Perth’s pride and joy Tame Impala, the brainchild of Kevin Parker, has brought the majority back home to that comfort zone with its third release, Currents.
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