Tame Impala Quotes
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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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The more I question myself about why I think pop is taboo, the more I realize it's not.
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I had this weird fetish for making the guitar sound like it wasn't a guitar to try and trick people into actually thinking it was a keyboard. I don't know why that was such an obsession, why I didn't just get a keyboard. I guess it was because I had no money.
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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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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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For me, I'm just too bad at remembering the details of lengths of parts of songs, so if we had backing tracks, it would be a recipe for disaster.
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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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Songwriting has become such a big part of what I do that emotions and the melodies that accompany them blur into one.
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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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It's 2013, and you can make music anywhere. We've got laptops.
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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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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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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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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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I feel like music will be free sooner or later, and I think I'm all for it.
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I make music that surfers dig, but, like Brian Wilson in the Beach Boys, I'm the dude who never gets on the board.
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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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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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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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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 always manage to keep myself busy.
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Tame Impala is kind of psych-pop.
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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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Nothing matches the sheer euphoria of discovering a new melody or a new batch of chords that just come out of nowhere.