On Valentine’s Day, music’s psychedelic pop-rock authority Tame Impala released their fourth studio record The Slow Rush after a lengthy five-year wait. During this wait, Tame Impala frontman Kevin Parker has occupied himself working in collaborations involving Miguel, Travis Scott, SZA, ZHU, and even with Harlem’s own A$AP Rocky. After Parker’s third record Currents (2015), the combination of almost universal critical acclaim and personal success has put the singer and multi-instrumentalist in a strange and almost paradoxical situation. How does an introvert - experienced in self-reflection and carrying a sincerity beyond his years - grapple with the trials of being a commercial artist? How do you stay true to yourself when so much is expected of and for you? How do you keep your composure when there is so much on the line? What is there left to do after becoming a respected household name? The answer may be unknown and the question convoluted - but Parker seems close to honing his response on this hour-long record.

The Slow Rush is a meditation on aging, time, and our own limited mortality. Some tracks branch into reflections on his relationships with people like lovers or Parker’s own father, but they all maintain a cohesive thematic register of sobering introspection on what it means to exist in one space while remembering another. When my sister, who is far more well versed in Tame Impala facts and interviews than I could ever hope to be, told me that Parker didn’t start working on the album until a little over a year ago, I was both surprised and not surprised at all. Part of this stemmed from the album’s aural profile being so similar to that of 2015’s Currents. Despite there being a five-year gap in between the two projects - both are dominated by the modern Tame Impala SoundFont. Parker’s mythological toolbox seems to be composed of a few powerful tools: dreamlike falsetto vocals that sound like they were recorded at the bottom of a well, punchy and rhythmic percussive arrangements, and piano/bass melodies that are so catchy they remain playing in your head for hours after the music stops. This is what makes the album’s short history so surprising, because for better or for worse - The Slow Rush could have been the unused D-Sides for Currents that didn’t make the final cut (or the shorter B-sides EP that was released later).

This is not to say that there isn’t anything new on The Slow Rush, as the album has dozens of highlights that are resonant and enjoyable - though unfortunately those that rival Currents are few and far between. One track that initially stood out as especially compelling was “Borderline”, one of the singles that dropped in the spring of last year. It had an ABBA-Esque danciness to it that when paired with its intense bass melody made for a track that stayed in my rotation throughout the year. Unfortunately, the track was revised for the record’s release, and now fans are left with a tinny shell of what once was one of my favorite tracks of 2019. Though the change was not that dramatic (the new mix altered the visibility of the drum and vocal tracks to make the bassline more prominent), unfortunately when juxtaposed against what once was, it is hard not to look back at the past without a slight bit of jealousy. Coincidentally this manner of self-reflection is exactly what the record is about. Could this change be intentional? Probably not but it sure is fun to think about.

Another track released last spring, “Patience”, was unfortunately left off the album entirely. Two of the record’s other singles, “Lost in Yesterday” and “It Might Be Time” are both significantly more forgettable despite how insanely repetitive these tracks are. The final single “Posthumous Forgiveness” is perhaps the highest point on the record, as the beefy 6-minute long record is divided into two distinct segments. The first is a tragically elegant and steady composition where Parkers sings to his deceased and estranged father “... while you still had time, you had a chance, but you decided to take all your sorrys to the grave. Did you think I'd never know? Never wise up as I grow?”. The second is a rare moment of optimism, a dancy and synth-laden moment where Parker forgives his father, singing “Wanna tell you 'bout my life, wanna play you all my songs, hear your voice sing along”. The track is beautiful, and the payoff at the end is worth every second. Part of this track’s tragic elements stems from the fact that the other songs on this project fail to be as dynamic, or carry the range that this track does.

Songs like “On Track”, “Is It True” and “Breathe Deeper” are fun, while repetitive, but they are so one-sided it is hard to feel fully satisfied after listening to them. Following up a record as polished as Currents certainly set Parker up with some high expectations to jump over, and unfortunately, Parker misses the mark more often then he hits it on The Slow Rush. With that being said, when Parker succeeds - he succeeds - and though I walked away from this record unsatisfied I can’t help but root for Parker, and I’ve noticed that other publications are likely in the same boat as I am. Scores for this record generally circle around the high 70’s - low 80’s, a range comically attributed to certain news sites that have negative opinions on projects that come from artists they like. I’m happy that Parker told WUBR the wait for his next project won’t be as long, but I hope the next time he enters the spotlight he delivers a more thought out project than this one.

Favorite Track

Posthumous Forgiveness

Borderline

Breathe Deeper

Rating: 5

Listen to The Slow Rush here:

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