Tame Impala Quotes
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I've played festivals in Australia. If it's a dance music festival or mainstream festival, there's maybe, like, 10 percent who pay attention to the music.
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I've spent a lot of my life forcing myself to do the right thing, and nowadays, I've just forgotten about all that. It's far more romantic just to let all your vices and fetishes come out and shine.
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I've always loved listening to music on my own, but there's another side of me that is just fascinated by... like Goa trance, for example - just a rave on a beach in India, you know? Where there's someone that's spinning the music, and it's just this free-flowing, continuous energy.
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After my grunge phase, I started opening my horizons and listening to more electronic stuff. I got into Radiohead, specifically 'Amnesiac' - my brother gave me that album.
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Surely there's a deeper pursuit to music than getting bros to pump their fists in the air.
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In the end, for me, music is such an internal thing that to let the outside world influence would be against my modus operandi.
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I've always had these morals I've sort of put on myself: that excess is bad. I used to be into Buddhism and stuff. I was vegetarian. I was all about shutting things out.
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Trying new things and experimenting is something I push myself to do. It's one thing to have love for all different kinds of music; it's another thing to bring them together seamlessly and make them coherent.
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Obviously, artists need to make money and stuff like that, but if you do something good or if you make good art or make good stuff, the wealth will find you in some way.
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The worst time for me is in the final few hours of taking a track that you've worked on for two years and bouncing it down to the final stereo mix. The overwhelming emotion for me is complete and utter fear that I've made a mistake. I'm scared. Afterward, I obsess endlessly about it.
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I love to be able to put my hands on a keyboard, to have a guitar and a bass within reach, as well as all the effects.
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In high school, I was an absolute derelict.
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I've always been of the idea that is doesn't really matter where you are geographically - with 'Lonerism,' we made half the album in Australia, half the album in Paris.
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If I'm recording a song, and it's kind of fuzzed out, but I've got this super candy melody, I feel nothing but freedom that I can just sing over the top, and it will be appreciated. It won't be like, 'What is he doing?'
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I write songs every day, but I don't necessarily get to record them.
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I never know when a record is finished until it's almost finished.
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It's a lot harder to reach people's hearts than it is to reach people's brains.
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I have almost no memory of my parents ever speaking to each other. They split up on bad terms. I assumed that's what family life was like. Just essentially a soap opera.
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I was always putting songs on the Internet, but I was never into pushing them on anyone.
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The first time someone asked us for an autograph was the moment we realized we were doing something that most people spend their teenage years dreaming about, for sure.
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The way I do it is there's never recording 'sessions.' One finishes, the next one starts. It's just continuous.
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With 'Innerspeaker' I was trying to do these hypnotic '60s grooves, but it was so hypnotic and repetitive that they sounded like they were sampled. It was making electronic sampled music but using real instruments to do it.
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I like a messy hotel room. It's a little slice of home.
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There's all this talk of music needing a monetary value, this ownership of music, even that it needs a physical form. But intrinsically... it's music. It should be better than that.