Kevin Parker Quotes
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I write songs every day, but only a few of them get finished.
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Grunge gave me a sense of identity, and I remember really associating with 'Silverchair,' who were these chilled-out Australian teenagers. The fact that they were teenagers was a big deal for me. It was like, 'Oh, man, you don't have to be a 30-year-old to do this.'
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My brain has a weird way of turning pressure into other things. I make a point to myself of shrugging it off - of going the other way and doing something for myself, wanting to do something better. For example, I know that I could have made 'Lonerism 2.0' in a day, but it wouldn't have satisfied me.
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I guess I'm not saying that I think music should be free, but I do think that if people can get it for free, there's nothing anyone can do to stop them. It's kind of a waste of energy to try and force them to pay for it if they don't have to.
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When I try and extract what it is about my music that I do or love or try to create, I'm never aware of it at the time. I just make something.
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In the end, I'm lucky enough to travel the world and make albums and not have to worry about not having a job.
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My brother Steve, who was a few years older than me, had 'Bad' on tape, and I remember listening to 'Smooth Criminal' and just thinking it was the coolest thing ever. I must have been five or six at the time, and I remember walking around school by myself thinking I was Michael Jackson. I wasn't dancing, exactly - more like walking musically.
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The more I question myself about why I think pop is taboo, the more I realize it's not.
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Michael Jackson's one of my favorite artists of my whole life. In fact, I think he is my favorite. It's one of the first things I fell in love with before I learned about genres and before I knew what was cool to like.
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Bands can become absolutely huge and actually be pretty terrible musicians, and bands can be the most amazing songwriters and musicians in the world and never play for more than 10 people. With that in mind, getting successful doesn't mean anything.
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One of my mottos for 'Currents' was 'Give the song what it deserves.' How would this song flourish? If the song could tell me what it wants, what can I give it? I tried not to dictate it with any sensible or logical decisions.
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The more confidence I get with making music, the more I feel like I can just rely on myself to fulfill me.
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I'd say most of the rest of the world are bigger Beatles fans than me. They'd know more of the songs and more of the lyrics - I don't really know that stuff. I just respect them.
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When I was 14 or 15, I was dead-set on becoming a rock star - the same as anybody who picks up a guitar at that age.
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I feel like music will be free sooner or later, and I think I'm all for it.
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It's largely a misconception that Tame Impala is a band. We play as a band on stage, but it's really not how it is at all on the album. The album is just me.
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At different times in life, I've felt like it's time to say goodbye from some form of myself that's been hanging around for a while - you just feel this urge to move on, like a herd of antelope. They're just standing there in a field eating grass. You feel like that as a person sometimes. Where's it's just time to move on.
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I just record whenever I can, whenever I'm home, whenever I have access to something that can make music.
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It's 2013, and you can make music anywhere. We've got laptops.
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I always manage to keep myself busy.
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For 'Lonerism,' I really wanted make a non-psychedelic record. That's why the dominant instrument is the synthesiser, but maybe it didn't quite turn out that way.
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Nothing matches the sheer euphoria of discovering a new melody or a new batch of chords that just come out of nowhere.
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I wanted to make something that, from the sound of it, could be down at the club. I just realised that I'd never heard Tame Impala played somewhere with a dance floor or where people were dancing.
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I wouldn't say making psychedelic music is my focus. That's not the modus operandi for Tame Impala. It's about making music that moves people.