(So, the plan has finally come together… mostly, and we begin our assault on the corrupt inquisition stronghold through holy arson. We just need to get ourselves and large amounts of flammable substance into the place.)
Slayer: Okay, so [Bard] will bluff his way into the stronghold, and in order to sneak you in, we’ll have to tie you to the underside of the cart.
Cleric: The cart full of lamp oil that I’m going to light on fire?!
Slayer: You can cut yourself free with your holy sword. (The sword, for the record, is permanently fused to my right hand, because of plot.)
Cleric: Yeah, but this is the cart we need to pass through the gate, and they’re definitely going to check underneath and the whole thing will be blown! Maybe I can pass for a mercenary hired by the merchant to protect the shipment?
Cleric: I’m a big half-orc with a greatsword that I don’t want to let go of…
DM: And it shines like the morning sun.
DM: You’re carrying an obviously holy sword, and wearing enchanted mithril armor. No lamp oil merchant in the world could afford to hire you!
Today one group of researchers offers a fascinating theory in Proceedings of the Royal Society B:
Fusing the fossil record and phylogenetic work (that is, determining
the relatedness of species to one another), they found that baleen
whales probably got colossal just 3 million years ago—a sliver of time
in the grand evolutionary scheme of things—and climate change
probably triggered the transformation. That, of course,
carries troubling implications for how the giants might fare as Earth’s
oceans warm and acidify…
You’re not going to find artwork of this anywhere (because I can’t draw at all), but this was a gemsona concept I came up with. Two Topazes fuse so that it looks like they’re wearing headphones when they’re together.
Damn, now I really wish I’d commissioned someone to draw that so that we could compare my Topaz to canon Topaz.
(For the record, her weapons would be nunchaku and a quarterstaff that fuse to form a tri-piece staff)
LET IT HAPPEN - Jon Savage on The New Pop and how Tame Impala is throwing it all in the Magimix.
Jon Savage in Conversation with Kevin Parker.
Tame impala are the breakout rock group of the moment:
fusing pop, grunge, psychedelia and, on their latest record Currents,
contemporary R&B. They are the sound of 2016: making music that sounds completely
contemporary,in the now. The surfaces are seductive, but repeated
listening reveals many subtleties in sound and in lyrics that examine switchback
emotions. The depth of their appeal can be seen in the fact that Rihanna
has covered New Person, Same Old Mistakes on her new album Anti - a mash-up
of styles that defines 21st century pop. Tame Impala is Kevin Parker. Since 2010 he has released
three wonderful albums: Innerspeaker, Lonerism and Currents.
Everything on those records is played, recorded, mixed and produced by
himself. The result is a dizzying sequence of songs that use sound itself
as a prime communicant - moving through the albums from psychedelia to
sensory overload and glistening disco. These moods complement lyrics
that deal with serious thoughts: “the only person who’s
really judging you is yourself”Alter Ego; “everything is changing / and
there’s nothing I can do”(Apocalypse Dreams).“Self questioning through music,” is how Parker describes
the first two records. But on the opening track from Currents,
Let It Happen, this confusion resolves into a kind of acceptance - a voice
saying “let it happen,let It happen (It’s gonna feel so good).” Matched to a
fresh clarity and an upbeat sound palette, this introduces a record that
celebrates growth and change, endings and new beginnings. The three Tame Impala
albums -rather like the four Velvet Underground albums constitute a
psychological journey, whether intentional or not, from doubt to joy, from
indie to pop,from adolescence to adulthood.
Kevin Parker has just turned 30 and lives in Perth,
Australia. He talks about this and many other matters via digital
communications from the other side of the world.
JS: Okay, let me
just check that this is all working and then we can start. (Jon knocks everything over)
KP: All okay Jon?
JS: This isn’t very good for my image.
KP: It’s a rare occasion that everything works.
JS: actually did a whole interview with a big musical icon
once and forgot to turn on the tape recorder.
KP: Oh no, I did one of those too and I only discovered it
right at the end.
JS: it was with Iggy Pop and I was just completely
KP: Iggy Pop!? (laughs)i know… (laughs)
KP: Did you tell him, or did you just make up the rest?
JS: No, you know what - the great thing about Iggy now is
that he’s a complete professional and when I said “I fucked up -
I’m really sorry” he just did the whole thing again.
KP: No way!
JS: It was good of him, right. So the first thing I wanted
to ask you is -is it correct that you wrote and recorded all three albums
(Innerspeaker, Lonerism and Currents) by yourself?
JS: So how do you motivate yourself?
KP: It’s just what I do, you know. It’s more a case of if I
don’t do it, then I start feeling shit about myself and start feeling like I
have no purpose. If I’m ever feeling depressed or down on the dumps - it’s
usually because I haven’t written or recorded a song in a while. Even if
it’s just a melody or a musical passage: just like coming out with something
like that is what makes me feel good about myself.
JS: It’s quite hard to work by yourself, so how do you stop
going down the rabbit hole?
KP: I tend to think that getting lost down the rabbit hole
is one of the most important parts. It’s one of the best things about
writing or recording music by yourself. That’s one of the pleasures.
Not to have any ties, or anchors, in reasonable logical thought you
JS: So you have no producers or bass players saying “we
really can’t do it that way”?
KP: Well I do, but they’re all inside my head.
KP: I mean, all the times that I’ve written and made music
with other people, it’s been a completely different experience. It’s no
less fun - it’s probably more fun, it’s more about doing something crazy but
there’s always a voice of reason like people kind of leverage each
other out.If someone has an idea that’s kind of like way out - chances
are that someone will think it’s really bad, but when you’re by
yourself thoughts just rattle around infinitely in your head. It’s extremely
pleasurable and it’s become the thing that I live for, because if I’ve made
a song and I haven’t been completely lost at some point - you know lost
in a good way, as you say down the rabbit hole - if that hasn’t
happened, then I won’t be satisfied with making that song. To me that’s a
sign that I’m on to something good, you know that I’m able to completely
disappear into it.
JS: I very much got that feeling on Lonerism. I mean it’s
such a bright, buzzy sound on that record and sometimes it almost threatens to
overwhelm you.and I thought that was part of the thing that you were
doing. It’s a record about trying to connect and you got all this buzzing stuff
going on, which is in the way sometimes.
KP: Yeah, I know exactly what you mean. I think with Lonerism
I really kind of tapped in to what was possible doing it by myself.
You know, like the first album I felt like I had to make it sound like it
was a band. I started out and kind of ended up sounding like a bunch of dudes
jamming out. That’s why so many people thought we were a band. It just
sounded like that and I was good at playing along with myself, like
multi-tracking.Just lying down playing the guitar and then playing drums on
top and doing it in a way that sounds like a collective of
people, and only limiting the amount of sounds to what was potentially
possible for a group of people in a room. Whereas with Lonerism I just threw all of that out of the
window and went “fuck it” I really explored the possibilities
of multi-tracking,over dubbing yourself hundreds of times. You know, there
were songs that had 120 channels in them and stuff - you know like a
vocal surge that had 16 voices in it just for one, you know all of that
kind of stuff. Having three melodies go at once, all completely distorted
and blown out you know. It was that kind of album.
JS: One thing that I really like about it - I mean I really
like the lyrics as well,is the way that the sound is part of the whole deal, very
much so. Obviously you got the melodies and the structures of a pop song, but
then the sound is communicating as well as the lyrics - you’ve got a sort
of fourth level going on.
KP: Okay, for sure. You’re spot on.
JS: Is that something that’s very intuitive?
KP: Yeah, of course. It’s kind of the part that I take pride
in the most. It’s definitely what I spend the most time on. I’ll do a drum
take, it’ll just be the first take and even if I fucked up a few times in the
take I’ll just leave it because it had the most natural feel, but then I’ll spend
6 months mixing the drums for it. You know, going back every day and
changing something small. Same with every other thing - I’ll do a
keyboard take and then spend the best part of a year making it sound
right.The actual recording part is a fraction of the whole thing,
because for me the sound is like… I guess that’s what producers do
when they'rein the outside world - all those roles roll in to one. I
never know what’s producing, mixing, song writing - it means the same thing
but for me the difference between a song sounding completely amateur
and sounding like the best thing I’ve ever done is just how I
make it sound.
JS: I think the fact that you’re combining all those roles
is what makes it sound unique, because it sounds like a complete whole. In a
way I couldn’t distinguish one part from the other. I don’t mean music
parts, I mean all the different things you put in. I think that’s really great. It
actually makes for very distinctive, very contemporary pop music.
KP: Yeah, I think as I’ve grown up and as my music has gone
out to the world that’s kind of one of the qualities that I’ve noticed
that it has. At the start I never really knew why I got a record deal
[laughs], why people were listening and why more people were getting in to it.
I’m starting to appreciate that that’s what people like about it is that it
sounds like one big monster, one big thing rolled together.
JS: So what music did you - I mean obviously there’s a lot
of psychedelia in your work. Is that what you listened to when you were a kid?
KP: Not when I was a kid… I’m trying to work out when it
was that I listened to the most psychedelia, or the music that
influenced what I sound like. For me it’s never been a conscious thing. I mean
there was a time when me and a bunch of the guys that are in the band,
the live band and a few other people - we all kind of lived together
in this kind of shared house and living this life style, listening to
that kind of music.You know, everything from The Doors to Aphex Twin. It was
pretty much like as long as it was freaky in some way.
JS: You were born in early 1986. So when you were about 12,
sort of the end of the millennium. I’m just trying to think what was the
kind of music you really started listening to when you were a kid.
KP: When I was 12, I mean I was just coming into teenage
years so it was pretty much anything with any kind of angst [laughs]
sewn into it.I listened to a lot of Smashing Pumpkins and then there was
all of that early 2000 punk rock, Unwritten Law - that kind of stuff.
Even like Rage Against the Machine.The Smashing Pumpkins record that I had
- or the one that my brother had - was Siamese Dream, which still
just defines an entire part of my life.That’s the album that kind of for
me makes the most sense of what my music ended up sounding like.The vibe that I get from listening to it seems to be, you
know the closest thing to what I’m heading towards, that kind of
emotion. It’s crusty and aggressive but it’s completely sensitive at the
same time. You know, it’s like blown out. Years later I found out that that
album is mostly Billy Corgan on his own. He was completely multi-tasking the
whole thinq and was layering like 60 guitars of his own - his own
takes on top of each other. It’s funny how I ended up being that same
kind of deal.
JS: And did you like My Bloody Valentine?
KP: Yeah, but you know what - My Bloody Valentine is one of
those bands that I ended up finding out about later when people
said that I sounded like them.There’s a few other bands I got into
because people were like “oh it sounds a bit like My Bloody Valentine
or it sounds like Kyuss.
JS: I saw them twice in 1990 when they were doing Loveless
KP: Wow, what was that like?
JS: Oh fantastic! Absolutely fantastic!
KP: I saw them a couple of years ago. It was everything I
hoped but I was standing near the sound desk and people were literally
just turning around and swearing and abusing the sound guy, and I
remember the sound guy joking to us saying that he used to have a sign
that he held up saying that it’s supposed to sound this way [laughs]. So
yeah, take from that what you will.
JS: So in a way you also grew up totally with digital music
with all music being available really. Did you feel that when you were
KP: Not really. I mean the days of me being totally obsessed
with music, which was like late teens - when I got the real
depths of it. Not to say that I’m not obsessed with music now but you know,
like how it completely defined who I was. I remember like downloading a
song on the internet and starting it at the start of a night and
maybe at the end of the night I had that song - you know, being absolutely
over the moon when the song finally finished downloading, from wherever it
was legally, illegally, whatever. It was funny later when I was
older - music was available to anyone, because it didn’t really feel very
available at the time for me.
JS: So you still kind of had to seek things out?
KP: Yeah, definitely. I still saved up to buy albums and
stuff. I must have been 16 or something and I had CDs stacked in my room. CDs
were still a big thing.
JS: So did you grow up in Perth?
KP: Yeah, I was born in Sydney. I spent most of my life in
JS: Okay, so when you were young were there alternative
record stores and mainstream record stores?
KP: I didn’t really care. It was just a CD shop you know.
There were record stores but it wasn’t something I discovered until I
was like 20.
JS: And so you would listen to what - a mixture of
electronic and punk and a bit of grunge?
KP: Yeah, I listened to a range really. I think when I first
heard Radiohead I was into… that was the thing with me - someone would
show mean album and I’d get obsessed with it and not even look at
the rest of the albums by that band. It was a terrible ethic. There was a
Radiohead album that I listened to over and over again - Amnesiac, and
that was at the same time as I was listening to like Incubus or
something, and there was that and around the same time I found the Air album so
there was just four completely different things.
JS: I love Air. They’re really amongst my very favourites.
KP: Oh man. I think Talkie Walkie is probably my favourite
album of all time.
JS: I can see that because I can see a little bit of Air in
KP: Yeah. Well actually Air is a kind of artist, or band,
that I always loved and always completely respected, but never have worked into
my own music until this album. This album is the first time Air
shone through.Now that I think about it, it’s crazy! When I first heard
that album - I must have been 16 or 17 - I was making music in my parents’
music room which was their converted garage. My dad had sound
proofed it,you know so he could play guitar really loudly. There was a
computer that used to be the family computer that was just sitting in
there in the music room now, and my dad’s friend put this music program
on it, on this like CD rom. My dad and his friend used to use it to
rehearse songs together. They had this duo where they practiced songs.The computer was so primitive, you couldn’t even play music
out of it while you were recording music into it. I was just
discovering. Up until then I just used a tape machine to record, you know
like a living room variety tape player to record music. I suddenly had
this digital thing. I didn’t know what I was doing but I was recording
little bits and putting them in to where I could - making music out of
it and I was listening to Air at the same time and Radiohead. I was
just like amazed and sort of obsessed with this idea… you know I
found a piece of swimming pool pipe and I swung it around and it made this
kind of weird whirling sound and I was like "sweet, I’ll record
that’.’ I was just kind of infatuated with recording music on my own.
JS: Air are a fantastic group to wake up to. Because it’s
kind of creamy and very melodic and it’s a whole sound again and also the
lyrics are actually pretty sharp.
KP: Yeah, I just love it how it’s so soothing and alien and
freaky at the same time. I love all things that seem like opposites, going
together. You know, opposites that weirdly belong together.
JS: Well I think that’s very important - it’s like a sort
of juxtaposition and that’s the way you make something new.
KP: Yeah, exactly.
JS: I didnt expect us to end up talking about Air. How
fantastic we share that passion. So tell me about your lyrics, are they
autobiographical or do you just get yourself into a mode?
KP: I think they all are to some degree. Again, I don’t
think I’d be able to finish a song, I don’t think I’d be able to feel passionate
enough about it to finish it unless it’s a story that’s close to my
heart, you know. It’s sort of therapeutic to me first and foremost. I like the
idea that if I write some lyrics or a song that has some message to it, that it’s
going to be a message to other people as well as me.That’s something I
only started thinking about when I started making the albums I knew
people were waiting for and I knew that people were going to listen to,
which is like after the first album. For me it’s important that it’s
something I know closely, you know.
JS: Yes. I mean there’s a lot of fascinating stuff in the
lyrics, I have to say.There are some great lines. I was thinking of the first
album - "the only one who is really judging you is yourself” from Alter
Ego. From your first album I very much got a sense of confusion and paradoxes -
“dare I face the world” Is that how you felt then? Because you must
have been 20 something? Early 20?
KP: I was 22-23, definitely a time where I was trying to
work myself out.I had a lot of questions: it was this time when I was living
with a bunch of other guys and we lived that kind of lifestyle where we
were trying things and I was secretly bringing out all the soul
questions that I had. I was taking a bit of acid, smoking a lot of weed. My dad had
actually died the year before I made Innerspeaker.
JS: That’s a really serious event.
KP: Yeah, it was a weird time. I was sorting myself out. I
was trying to solve a few questions… I don’t know, I don’t know. It was
a huge time of self discovery and self questioning for me. It kind of
kicked off the whole Tame Impala perspective in a way. That kind of self
questioning through music.
JS: That’s very good. Self Questioning Through Music: I love
it [laughs].Where did the name come from?
KP: I don’t really know where it came from. I was thinking
of a name for a psychedelic band. It was meant to fit that mould. It’s
an Impala because my parents were Zimbabwean and South African so I
wanted it to be an African animal. I felt that was kind of my personal
thing rather than like a panther or…
JS: A Kangaroo?
KP: Yeah, well I’ve got massive cultural cringe so I was
never going to be an Australian animal. I liked the impalas. I thought they
were cool animals and that kind of reminded me of somewhere that I’ve
come from historically, not geographically. As soon as I was
trying to think of a name I just said Tame Impala in my head. I don’t know
why. I also thought in the end that I liked the idea that the name
described this connection with a wild animal.The idea is not that it’s a tamed impala - it’s still a wild
one but fora brief moment… the idea is that you would see one in the
wild and you suddenly have this connection with it and it has a
connection with you.It’s like an unspoken connection with something foreign and
way out. And then it flickers of into the wild, you know. It’s this
brief spontaneous connection, kind of thing.
JS: So on the second album you’re still trying to work out
where you are in the world.
KP: With Lonerism I definitely wanted to tell a story. Or
not a story - in fact I didn’t want anything.The kind of music I was suddenly
making, or being able to make: melodically, it kind of just reminded me
of when I was a kid trying to connect with people and feeling quite
alienated socially.The first album didn’t really have anything to do
with someone in their place - that kind of social world around them - but
for some reason the second album just felt right to be talking about
that.It’s also because since the first album came out we were
touring a lot more and there were a lot of social situations that I
hadn’t been in since I was much younger. You know, I spent the
Innerspeaker days pretty much just with seven people. I just shut myself off
and didn’t have to worry about other people. With Lonerism, the theme
of the album just happened. I started singing about things that I
hadn’t really talked about before which was the feeling of being
alienated, trying to be connected with other people and the feeling of failing.
It was still quite self questioning - it still had that kind of thing but
the songs were all about not knowing your place in the world socially.
JS: I here’s some fantastic lines there - Nothing That Has
Happened So Far Has Been Anything We Could Control[laughs].
KP: That one…l felt a kick out of making it such a long
song title. I was like this feels daring. That song is kind of about
finding yourself in a situation, like a predicament. You and someone else and
the only comfort you have is by reassuring yourselves that it wasn’t
you that decided to do it like that. It wasn’t under our control -
the steps that led to this predicament. You know? Like it wasn’t our fault - we
were just doing what we were doing.
JS: And also, that’s what it’s like when you’re in your
twenties. You know,you’re living in a world that adults have created - it’s not
the world you created is it?
KP: Yeah, for sure.
JS: Okay, the most recent album. It’s very different, and
what I like about it… I mean you laid it out on Let It Happen - you’re
actually saying you’ve got to adapt to change, this is inevitable, just roll with
it basically. I loved the counter synth melody on that one. It comes about three
minutes in and it just sweeps you up. Do you know the one I mean?
KP: Oh yeah, the big string section. Cool!
JS: I also like the way you did - 1 don’t know how you call
it - the repeat that sounds like a CD is stuck. That’s a very effective, new pop
device. You did it in a very crude, broken-sounding way. How do you do that?
KP: I just did it manually, literally… there’s lots of
ways you can do it digitally, but I just did it one way which is the only way I
know how. I just love the idea of that; for me it really pricked my ears up,
made me feel really satisfied. I guess it’s the only way to describe it -
having that really cold digital repitition, that cold digital repetition and
then suddenly this kind of really organic string thing comes sort of just
washing in - this orchestral surge. It’s the most organic thing that can
possibly happen coming on top of this seemingly broken CD player sound.
KP: Again, I love the way those two things seemed like
opposites that go together in a way. Again, I’m not really sure what made
me think of that string thing, that string part in the song but I’ve
always been into Serge Gainsbourg… I can’t remember who the guy was who
arranged his strings. Jean-Claude Vannier or something?
JS: Oh yeah, he did a fantastic solo LP too. I can’t
remember what it’s called now. Something about the flies (L'Enfant Assassin des
KP: That’s a good example of me being influenced by
something. I just did it and then it was recorded and it was done and then I
sort of try to trace back to what made me think of that in the first place
- like where did that come from? And I think it was actually something to
do with Serge Gainsbourg.
JS: So I mean the album in general - it seems like a whole
piece to me, even though obviously there’s lots of different tracks and
whatever and I like the short tracks. You know, I like Gossip and I like Nangs, they
just break it all up. But also it seems to be about… it’s adapting to
change, dealing with the end of a relationship and what happens when you start with a
new one - a sort of sense of opening but yet being scared. You, know
it’s a very strange time when you start a relationship. Is that correct?
KP: Yeah, for sure. A phrase that comes to mind when I think
of what the album is telling you is “just give in” It’s like
an album that’s telling you just to give in to these kind of forces that are there. You
know, it’s kind of meant to be a bit of a 180% turn from what the Tame Impala
perspective is - which is like self discovery, discipline in a way
because I think with the first album there are a few concepts that were meant to
be vaguely Buddhist in nature. You know, to appreciate only what is
real and what is right. But with this album it’s kind of like, “well
you know what, there are a million voices in my head telling me all this. I’m
just going to go with this”.
JS: So it’s about intuition and to some extent surrender,
which is a great thing I think.
KP: Exactly. Surrender.
JS: Because the ego always says you’ve got to do this,
you’ve got to do that, you’ve got to put your stamp on it and sometimes it’s
KP: Right, right. It’s kind of also about growing up and
realising if you don’t follow your intuition now - you never will. It’s now
or never basically.
JS: Are there moments when you record when you feel as if
the music is playing you rather than you playing the music?
KP: Yeah, that’s usually when I feel like I’m in the zone,
when I’m not really thinking per se - it’s just something… you know,
you reach this kind of like… you know it’s what people that are
meditating want to achieve - it’s that sort of state where you’re not having to
think of anything, you just do it but you’re listening to it and if
the music tells you to do something you do it. It’s like this cycle - you’re
creating and listening at the same time.
JS: And you’re completely lucid as well.
KP: Yeah. Exactly.
JS: So on the last track - New Person, Same Old Mistakes -
it’s kind of the ultimate track isn’t it and you’ve got a great bridge there
and you’re kind of going against yourself by the end.
KP: That was meant to be the concept. The concept of the
song is someone arguing with themselves, it’s like the angel on your
shoulder and the devil on your shoulder you know. That kind of… not
to make it so Disney or whatever, but that kind of internal
conflict. If you listen carefully you can actually hear one side of the argument is
pan slide to the left and the other side is pan slide to the right, you
know so that the kind of narrator in response is slightly panned left and
slightly panned to the right.
JS: So were you surprised when Rihanna covered it?
KP: Yeah, it was more just like “woah, this is
happening’.’ I didn’t know what they were going to do, officially. They just said that
Rihanna wanted to do something with it on her album. You know, these
days I’ve learnt to sort of expect crazy things. You know like things
like that out of the blue turn up all the time.
JS: It was a great tribute as well, a real moment.
KP: Yeah, well especially because when I was writing the song
I kind of had an RnB artist in mind. You know, that’s something I do a
lot - think of a song and imagine the song in its natural habitat and
then think about where it’s going to end up later. You know, I’ll just
record it… you know, I don’t even always record songs knowing they’re going
to be Tame Impala songs. I’ve got a bunch of songs that I’ve
started - that I don’t have any intention to be Tame Impala songs. In fact, a
lot of the songs that are on the albums didn’t start out as
intentional Tame Impala songs. It’s something like half and half. So yeah, New Person, Same Old Mistakes - when I was writing
it,when I was doing the demo for it, I was thinking that I
could give it to an R’n’B artist and maybe if they like it they can put it on
their album. That would be my dream - to write songs for other artists. It’s
kind of like a secret fantasy for me. So in the end I thought by the time
I’ve finished the song it actually sounds like Tame Impala because it’s me
doing it in the end. It’s my kind of production, it’s me playing all the
instruments so it ends up sounding like Tame Impala. So I kind of forgot
about the fact that I intended it to be for a different artist, and so when Rihanna finally did a version of it, it was crazy how full circle it felt. I
was like "oh shit,this is how in my head it sounded at the very beginning”.
JS: And did she use some of the backing track or did she
record her own?
KP: I think it’s mostly my instrumentation. I gave them the
stems thinking they were going to sort of make their own completely new
version of it. I didn’t know they were going to leave it mostly intact.
JS: Modern R’n’B just sounds fantastic.
KP: I know what you mean. I’ve been obsessed as well. It’s
just this thing like “how do I make that” you know.
JS: And it’s probably the most creative, as far as sound is
concerned - the most creative mainstream pop format.
KP: Definitely. Yeah, especially because it’s such a fine
line between something sounding amateur and something sounding like a
million dollars. Even the top producers in R’n’B - they’re used to
doing it on their laptops with a program that’s probably free off the
internet. The difference between something that gets heard by one person
and something that gets heard by millions of people is really
just this sort of subtle placement of a chord or a drum hit, which fascinates
me. Because for me - I was growing up on pop music on one side and alternative music on the other side and whatever you do - it has to be
miles different from everyone else.
JS: But that split between pop and alternative is bullshit
KP: Right. Exactly. Which is something I discovered while
making this album - things don’t have to be completely polarized.
JS: What I don’t like about a lot of pop music now - it’s so
obviously someone’s idea of mainstream pop music and that’s what I
really liked about your records is that they do combine pop music with
that element of surprise really, not even freakiness - surprise, something
new. A ‘new pop’.
KP: I think the tides are turning on that more tired aspect
of pop music.You know, I actually believe that it’s all getting more
inventive and also the line between what is mainstream and what is
alternative is becoming more and more blurred, which for me is a good
JS: Well, I agree because I always like to hear something
I’ve never heard before. When you were doing Currents, when you were planning
it, when you were doing it - did you have an idea that it was going
to be different from the first two or did it just happen that way?
KP: I did want to do something different but then at the
same time,I always want to do something different. For me there’s no
point in doing it unless it is in some way different. As I’ve been
making albums,I kind of get addicted to that feeling of going completely
out of your comfort zone - both for my own appreciation, trying
something new,and also to surprise other people that are anticipating
it. The feeling of giving people the idea that they don’t know what’s going to
happen. It’s something I got addicted to. Along with that, there are just so many things musically,
that I realise that I hadn’t pursued yet - things that I have always
loved, types of music that I have always loved and that have always been
so close tome -that I hadn’t really incorporated. Pop music, disco,
funk music, or all kinds of things that I considered guilty pleasures because I
considered them sort of like disposable or less intellectual than
alternative music or experimental music. You know, I suddenly just shook off
that kind of indie guilt… what’s the word. Punk rock guilt. All that kind of thing. I just realised that my love of
music and making music was bigger than that. Also I guess I felt like,
in the past,I didn’t know how to include those kind of elements in the
music that I was making. I still consider Lonerism to be a total pop
album because the melodies are pop.They’re all pop songs in my own opinion,
my own mind. But going down that kind of Michael Jackson vein of
pop music was something I hadn’t really done. I didn’t know how to
incorporate that into the kind of psych rock I was making. But I think
this time, I was just willing to try anything.
JS: How did you do? Did you start with the groove?
KP: I guess it depends which song but usually it starts with
the melody, always. Melody and chords. I just have the idea for that. I
mean it’s kind of all at the same time though, you know. I’ll just have the
idea for the song. It sounds cheesy, but I just start playing in my head
like I just flicked on the radio. Do you know what I mean?
KP: It’s kind of something I’ve got better at doing since I
was really young.
JS: So was there any disco records you particularly liked?
KP: Not strictly disco - anything from Daft Punk to the
Beach Boys to Michael Jackson. That’s kind of the triangle of my influence
in terms of the disco part. It’s an amazing moment of liberation, you
know when you’ve learnt to accept or decide not to shut out things
that you’ve felt inclined to shut out before.
JS: There’s nothing wrong with wanting to have fun and a lot
of alternative music is just not fun.
KP: Yeah, because a lot of it is wrapped up in the message…
it’s more exclusive than inclusive.
JS: I see a lot of rock music as being about generational
identification - you know, it’s something you do with a bunch of people in a
particular time in your life.
KP: Yeah.That identity thing is something that was so deeply
imbedded in me for so many of my years growing up. By deciding what I
loved it informed what I hated at the same time. I considered myself
a grunge¦ kid 50 that pretty much dictated what I thought was pulp
and also the demographic you know. I was part of these people that
listened to that music therefore all the people I didn’t associate with were
teeny buffers that listened to pop music.
JS: Yeah, I was the same.
KP: Yeah, I think we all were at some point.You just have
this realisation. There’s no such thing as intellectual music.
JS: So, do you feel connected to your generation at all or
are you very much just in your own world? Do you feel connected now with the
KP: I feel more connected now than I have in a long time;
more than I did when I was 20, ten years ago. Only because now… not that
I’m trying to accept, but I’m just interested.Ten years ago I wasn’t
interested in what people in the same age as me were listening to.
JS: So what’s next?
KP: Physically, we’re going to be touring for the rest of
the year, but everything non physical… for the first time I don’t really
JS: That’s interesting.
KP: It is, it is. I think with this last album it was kind
of a gateway album.It kind of opened a lot of doors - it’s was kind of half the
intention as well, to open things up.
JS: So you’re not going to do a new album very soon?
KP: I don’t know. I could suddenly wake up tomorrow and make
a whole new album, but I didn’t wake up today feeling that way… Do
you know what I mean?JS: I don’t blame you [laughs]. But if you’ve had a success,
you might as well enjoy it.
KP: Yeah, I mean at the same time it’s not really the way my
brain works. You know, I’m extremely bad at appreciating what I’ve
earned.I’m the kind of person that really wants something; I want
the album to be successful or whatever and then the album comes out
and it is successful, but I don’t care by that point. I’m extremely
bad at resting on my laurels.
Tame Impala play in Asia during April and then a number of
major festivals across North America and Europe between June and August.
Many thanks to the bestest dude for extracting the text using his superior skillz. Tame fans salute you.
In the background
Bodies far apart
Inner beings fused together
Crystals separating us
But connecting our energies
As we lay in silence
On two different sides of one bed
Our beings collide
Enjoying our nonphysical intimate transcendence
I doze off a bit
But then you call me softly
Just so that I can move closer to you
Wrap you up
And enfold you in my arms
Our two half naked bodies
Lying in blissful sin
The music starts slowing and comes to a halt
I can’t resist myself
As my body yearns for you
I tease you slowly
Urging for your moans to replace the music
As you “unhhh”
In my ear
I go harder
Your body singing for me
Taking me to a place unknown
And as you climax
And reach the ending
The vinyl once again starts spinning
ALL LAPIS/PERIDOT (LAPIDOT) MOMENTS OR HINTS - THE MASTERPOST
Woo, alright. This is gonna be a looong post. I wanted this to be out during Lapidot week but I was busy soo.. yeah. ANYWAY, this is just a huge post pointing out at all the possible Lapidot moments/hints for reference maybe? And this is also just inferences as well. If anyone asks, “Why do you ship Lapidot?” This.
I wanted to include pictures with each thing, but I wouldn’t wanna be ‘stealing art’, when I get to drawings by the Crewniverse, I’m sure everyone saw them anyway, and it’d be a lot for one post. So, here goes..!!
In BARN MATES:
At first, Peridot records herself imagining how well the conversation her and Lapis is going to go when she actually talks to her. She mentions “We can watch the sun come up and figure out what we’re going to do with all this time, eh, Lazuli?” and then says (as Lapis) how she would be impressed by her “new compact look and capacity for friendship. I’m so glad we’re going to be living together!”
Later, Peridot really wants Lapis to see that she isn’t who she thinks she was before. She continously tries to get Lapis to like her and does not give up easily. She doesn’t get frustrated with Lapis, since usually she would call someone a “Clod”, instead, she insults her self and her ideas (“What a CLODDY idea! Of COURSE she wouldn’t like that!”) at trying to get her to like her. Peridot’s last try is her giving Lapis her most valued item, her tape recorder. When Lapis destroys her tape recorder, Peridot doesn’t snap, but she does tell her how she understands how Lapis is feeling, that she gets it. She tells her she knows what it is like to be in a place that doesn’t feel like home yet, and both of them are the same, except, Lapis doesn’t have to be alone, if she just accepted her. Finally Peridot asks whatever Lapis wants, she would do it. Lapis tells her to leave and she does so without protest, respecting her decision.
Towards the end, when the Ruby ship comes to look for Peridot, Lapis protects her, finally seeing why Steven defends Peridot. Peridot walks away, trying not to be seen by Lapis, since she thinks she’s probably still mad at her, but Lapis calls out to her and asks if she is okay. To this, Peridot gets a big smile on her face, along with a nerdy laugh and makes Lapis go “Umm…” and blush.
> “Look! The ribbon is even blue! I got'cho number!” *winks*
> “H2Oh my gosh! It’s a smaller than average lake! …It’s a gift for you!” *weirdly seductive laid back pose on the inflatable ring*
> Steven drew Peridot and Lapis holding hands!!
> The sky magically cleared up after Lapis finally accepted Peridot…and making her blush….
> They live alone together now!
In TOO SHORT TO RIDE:
> Peridot indirectly calls Lapis “cute” when an ad appears on her tablet, saying “find cute roommates in your area!” She continously presses “no”, saying “I’m all set, thanks.”
((These are on the official Peridot Twitter, run by Lauren Zuke, which could basically mean these are canon.))
> Peridot took a picture on the roof, Lapis can be seen as well. They were both probably stargazing.
> IT’S MADE ME THINK A LOT ABOUT HOW LONG I’VE BEEN HERE AND ALL THE STUFF I LEARNED. / IT’S NICE LEARNING THEM WITH SOMEONE TOO! (Meaning she enjoys learning about the Earth with Lapis.)
> …. OH. THAT SOMEONE’S NOT HERE. (She sounds a bit dissapointed doesn’t she?)
> After Peridot shows the world she can move a spoon with her mind, she says:
LAZULI WOULD GET A KICK OUT OF THIS I BET. (She’s trying to impress her with her new powers.)
> Soon after, she also calls Lapis a “Star” when she says:
SPEAK OF THE STARS! SHE’S BACK! I GOTTA SHOW HER WHAT I– OH.
I’LL BE BACK LATER!!!!
(This is after the events of ALONE AT SEA, which could mean Lapis came back after encountering Jasper and Peridot got off Twitter to go and comfort Lapis.)
You can really see how close Lapis’ and Peridot’s relationship has become. They both love watching Camp Pining Hearts together, even sharing the same opinions based on their comments about the show. They both decorated the barn, and even made a collaborative “meep morp” as Lapis named them or “morps” as Peridot likes to call them.
Peridot moves on to show Steven and Amethyst her “One Gem Metal Band” but hasn’t practiced enough to actually make it work. This makes Lapis snort, and then tells her she should try “one thing at a time.” Peridot tells her that they have guests “who must be impressed”. Lapis smiles, picking up the tamborine and telling her “Let’s try it together.” They both dance together, and have fun, before Amethyst gets annoyed that “JASPER is out there!” Peridot gets nervous and tells Amethyst she tries not to use the “J” word so loosely at the barn. Meaning she is careful around Lapis, not wanting to trigger her with the word “Jasper”.
Later, when Peridot is about to leave to the Beta Kindergarden, she stops and tells the others she wants to make sure Lapis is ok. Peridot asks Lapis if she’s okay, and Lapis says “Yeah”. She asks “Are you sure?” for reassurance, and again, “Yeah”. Peridot tells her she will be leaving, but she will back, so she won’t worry. Then she asks her if she needs anything and what season of Camp Pining Hearts she was watching. Almost like a married couple.. Also, When Peridot quickly takes off her bowtie and says “You know what to do with this!” and throws it at Lapis for her to catch, they probably have had more moments together off-screen so that Lapis would know what she needed to do to the bowtie.
> Both seem to smile at each other a lot in this episode.
> Lapis puts a hand on Peridot’s shoulder when she tells her she should “take one thing at a time.”
In BACK TO THE MOON:
Lapis isn’t really impressed by Amethyst shapeshifting into Jasper. When the Crystal Gems are going to the Ruby ship, Amethyst asks Peridot and Lapis if they want to be prisoners too. Lapis gives her “that” look and says “Not really.” And Peridot quickly holds on to Lapis’ arm, being protective of her and not wanting Amethyst (as Jasper) to make Lapis feel uncomfortable with the disguise in front of her, and the use of the word “prisoner”.
In KINDERGARDEN KID:
When Peridot finally bubbles her first corrupted gem, her bubble appears “home” which is at the barn. Living with Lapis, on Earth, really shows how she does see the barn as her home, even with her roommate.
> The bubble appears above Lapis, and she doesn’t seem shocked by it either. Both of them are probably used to their weird stuff now. …Like a couple.
Subtle hints (?) / Some are from the wikia :
> In CRY FOR HELP, Peridot refers to Lapis as her ‘informant’ rather than her prisoner.
> In CATCH AND RELEASE, Peridot says she knows Steven healed Lapis’ gem, but in THE MESSAGE, Lapis told Steven she never told anyone, meaning she probably lied about it.
> In LOG DATE 7 15 2 Peridot watched ‘Camp Pining Hearts’ where Paulette (wearing a blue diamond, and stylish blue raindrop scarf) and Percy (wearing a yellow diamond, and an outline of Peridot’s hair on his hat), try to kiss; which Peridot questions “Are they trying to fuse?” Then, in SAME OLD WORLD, Lapis takes a liking to leaves and is seen holding one throughout the ending. This also might be foreshadowing as Paulette was holding a Canadian-like flag. (Which had a leaf symbol.) There is many promo art/drawings from storyboard artist Lauren Zuke where Peridot is dressed up as Percy. And also that ship chart Peridot made. Supposedly, the colors matched up to pair Lapis and Peridot.
> In Barn Mates and in Beta, when Peridot and Lapis are seen on the screen alone together, both times they were by the portrait of Steven’s grandparents. Peridot on the husband side, Lapis on the wife. Symbolizing marriage maybe?
> Peridot calls Lapis “Lazuli” a lot, in SAME OLD WORLD, BARN MATES and in some zines. Nickname~
STEVEN UNIVERSE ZINES:
> In RESPONSIBLE EARTH CITIZENS, by Lauren Zuke and Mira M., Peridot acts like the stereotypical husband, coming home from work to Lapis the stereotypical house wife, making dinner.
In FLIES OF LIFE, by Lauren Zuke and Mira M., Peridot learns about fireflies and then asks Lapis if she would like to learn about Earthly things with her, Lapis’ response looking like a typical anime trope, the one when a character “falls on to their knees” when another character does something cute.
> Shelby Rabara, the voice of Peridot, ships Lapidot, along with Pearlmethyst.
> Shelby was also recorded a phrase for a fan, saying. “Lapis, fuse with me.” > Even Lauren Zuke made an AU based on the song Genghis Kahn, which shows, towards the end a gay couple living together. Maybe she ships them ? https://www.youtube.com/watch?v=P_SlAzsXa7E
(PSST. GO LOOK AT IT ON HER BLOG)
>There is a lot of fanart/promo art of Lapis and Peridot together.
> There is also a listing for shorts and one of them is “Video Chat with Lapis and Peridot”.
> Also, I heard Peridots are used to heal, which symbolizes how Peridot is able to help Lapis heal.
Yup, that’s it! I tried not to pick things that seemed like too much of a stretch, like how Lapis glanced at Peridot in “The Return” or how Peridot likes water (Lapis’ powers are water) since the events of “When it Rains”. But I’m mentioning them now so I guess they’re just here, in case anyone wanted that too.
I just liked analyzing this since.. both of them have come a long way! I will try to keep this post updated if there are any more hints towards the ship. I just think this ship has so much potential! Lapis and Peridot learning about the earth together reminds me so much of Ruby and Sapphire learning about the earth. It’s like Garnet’s story, only it’s happening now. Lapis healing with Peridot’s help is the best thing ever. Even if they never fuse, or confirm as a couple, their relationship should be pretty much clear for everyone.
Late and incomplete but this took a couple hours and I’m tired. Not all of this is pro-quality, especially the older stuff (obviously). I’ll add to it when I come across stuff. If anyone has a link to any of the unlinked shows below, please let me know!