WEBVTT - Tame Impala 0:00:08.200 --> 0:00:14.200 Pushkin. In the thirteen years since Kevin Parker first posted 0:00:14.240 --> 0:00:16.760 Tam and Paula music on MySpace, he's gone from being 0:00:16.760 --> 0:00:19.520 a member of Perth, Australia's psych rock scene to a 0:00:19.600 --> 0:00:23.239 huge Coachella headlining act in the States. In the process, 0:00:23.239 --> 0:00:26.040 he's developed the best of both worlds, the respect of 0:00:26.040 --> 0:00:29.000 all your favorite artists and legions of fans who'd dissect 0:00:29.120 --> 0:00:32.400 every lyric and sound on his albums. Like most of 0:00:32.440 --> 0:00:35.400 his past releases, Kevin did everything on the newest Tam 0:00:35.400 --> 0:00:41.879 and Paula album, The Slow Rush, himself, all the singing, playing, production, mixing. Everything, 0:00:42.120 --> 0:00:45.400 he tells Krubin is how he's most comfortable creating alone. 0:00:46.159 --> 0:00:48.040 But in the five years between his last record and 0:00:48.080 --> 0:00:51.280 the new one, he was busy collaborating with The Weekend, 0:00:51.479 --> 0:00:54.960 Travis Scott, Kanye West, Sizza and a bunch of other 0:00:54.960 --> 0:00:56.920 people have talked about wanting to work with him too, 0:00:57.280 --> 0:01:00.680 everyone from Dua Lipa at Christina and the Queens. Kevin 0:01:00.720 --> 0:01:03.320 connected recently with Rick on Zoom. It's been sheltern in 0:01:03.400 --> 0:01:06.400 place back in Australia ever since the coronavirus interrupted his 0:01:06.480 --> 0:01:09.560 tour after two sold out nights at the Forum in La. 0:01:09.800 --> 0:01:11.640 He talks with Rick about how being perceived as a 0:01:11.680 --> 0:01:14.280 band started eating away at him early, and also asked 0:01:14.360 --> 0:01:19.520 Rick about making two albums. He loves Californication in Jesus. 0:01:23.319 --> 0:01:26.040 This is broken record liner notes for the digital age. 0:01:26.200 --> 0:01:34.280 I'm justin Richmond. Here's Rick Rubin and Kevin Parker, and 0:01:34.319 --> 0:01:36.479 you might hear Rooster's crown in the background every once 0:01:36.520 --> 0:01:39.800 in a while. Unfortunately, sheltern in place sometimes means being 0:01:39.840 --> 0:01:43.880 surrounded by wild chickens. What was your introduction to music? 0:01:43.920 --> 0:01:46.520 What's what are your first memories of listening to music 0:01:46.560 --> 0:01:49.160 as a kid. My dad was kind of a musician 0:01:50.200 --> 0:01:53.560 by hobby, like like, loved music, loved playing music and 0:01:53.680 --> 0:01:56.880 playing like a cover band, just playing kind of sixties 0:01:57.440 --> 0:02:01.520 you know, Beach Boys, Badels, roll Stones, covers, and so 0:02:01.640 --> 0:02:03.520 he would always have a sort of guitars and stuff 0:02:03.680 --> 0:02:06.440 lying on the house and in the end in the garage. 0:02:06.440 --> 0:02:09.799 I guess of your dad's music was the first Your 0:02:09.800 --> 0:02:13.920 first memory of was of him playing music or of 0:02:14.080 --> 0:02:17.079 the music he listened to the music listened to it 0:02:17.080 --> 0:02:18.880 because he would he would always have music playing in 0:02:18.880 --> 0:02:21.560 the car. In fact, it's weird because there's this one 0:02:21.760 --> 0:02:25.480 song that that I have this memory of always asking 0:02:25.520 --> 0:02:27.960 him to play, and I remember there was every time 0:02:27.960 --> 0:02:29.800 I heard it was like, you know, I must have 0:02:29.800 --> 0:02:33.320 been about four years old I was. I was like, damn, 0:02:33.320 --> 0:02:35.240 play this song. And to this day, I don't know 0:02:35.280 --> 0:02:39.560 what that song is. It's heartbreak. Does your dad still remember? 0:02:40.520 --> 0:02:45.000 He passed away about ten years ago, so um so yeah, 0:02:45.120 --> 0:02:48.080 I don't think. I don't think he would have remembered anyway, though, 0:02:48.120 --> 0:02:51.160 but it's yeah, I have a feeling it's The Shadows, 0:02:51.160 --> 0:02:53.799 a song by the Shadows. Do you feel like if 0:02:53.800 --> 0:02:57.960 you randomly came across the song in life, it would 0:02:58.360 --> 0:02:59.919 a light bulb would go off and you would say 0:03:00.200 --> 0:03:05.320 it is It would probably trigger some sort of weird episode, 0:03:05.639 --> 0:03:08.480 you know, like wherever I was, and probably you know, 0:03:09.040 --> 0:03:12.760 just sort of stop breakdown in some way. But at 0:03:12.800 --> 0:03:14.600 the same time, I think it might be a song 0:03:14.639 --> 0:03:17.880 that I know at the moment by the Shadows, because 0:03:18.520 --> 0:03:21.080 I have a feeling it was instrumental, and I know 0:03:21.120 --> 0:03:24.800 that it was really like touching and melancholic, which which 0:03:24.880 --> 0:03:27.200 kind of points directly to the Shadows. And then what 0:03:27.280 --> 0:03:34.240 was your first music that was yours? Probably Navana? You know, 0:03:34.400 --> 0:03:37.240 like I just I would have been about eleven years old. 0:03:37.280 --> 0:03:39.680 My friend played me vinyl because we were like the 0:03:39.680 --> 0:03:43.440 first kids in our class to get into music. You know, 0:03:43.560 --> 0:03:47.120 like I go on his house every Tuesday or something 0:03:47.120 --> 0:03:49.920 like that after school and we'd kind of like discover 0:03:50.040 --> 0:03:51.680 rock music. You know. It was kind of it was 0:03:51.680 --> 0:03:55.720 just like epiphany, absolute revolution of life, like just like 0:03:56.320 --> 0:03:58.480 jumping around the room that you know that that that 0:03:58.520 --> 0:04:02.120 whole that whole kind of discover that whole story, which 0:04:02.200 --> 0:04:06.520 is you know, probably everyone but yeah, I mean Nirvana. 0:04:06.560 --> 0:04:09.000 And then it was kind of just a cascade of 0:04:09.640 --> 0:04:14.840 Smashing Pumpkins, silver Chair, anything with distorted guitar, anything with 0:04:14.960 --> 0:04:17.400 drop D tuning. But there was always the kind of 0:04:17.400 --> 0:04:20.920 part of that music that was kind of, um it 0:04:21.000 --> 0:04:23.719 wasn't just like angsty. It was kind of discovered the 0:04:23.800 --> 0:04:26.920 emotion in it, like like like Smashing Pumpkins. You know, 0:04:27.160 --> 0:04:29.680 Smashing Pumpkins has that that real, that real kind of 0:04:29.720 --> 0:04:33.480 sensitivity to even though it's just like blaring wall of sound, 0:04:33.560 --> 0:04:35.120 you know what I mean. Do you remember when you 0:04:35.160 --> 0:04:39.719 first started started experimenting with making music. Uh, yeah, Well 0:04:39.720 --> 0:04:46.480 my brother played drums, so yeah, he's two years older. Um, 0:04:46.520 --> 0:04:49.120 so he had a drum kit which I just thought 0:04:49.240 --> 0:04:53.920 was incredible. I like, sort of, you know, just watch him, 0:04:54.080 --> 0:04:55.560 you know, and it was kind of like wow, so 0:04:55.720 --> 0:05:00.360 obviously I immediately wanted to copy him. Hea. We had 0:05:00.400 --> 0:05:04.040 this tape deck in the music room, which was kind 0:05:04.040 --> 0:05:05.120 of just a room in the house. We had a 0:05:05.120 --> 0:05:08.040 tape deck that had a microphone input. You remember those 0:05:08.080 --> 0:05:12.680 like kind of like cassette cassette decks, and for some 0:05:12.720 --> 0:05:14.880 reason they'd just be like a chorion's jack in the 0:05:14.920 --> 0:05:18.960 corner just says a microphone, you know, And so we 0:05:19.080 --> 0:05:22.279 plugged a microphone into it and just recorded ourselves playing drums, 0:05:22.320 --> 0:05:24.880 just to sort of sealed it sound like. And then 0:05:25.600 --> 0:05:28.360 we had this little keyboard sitting in the room as 0:05:29.040 --> 0:05:32.359 a little cassio kind of thing. And one day I 0:05:32.400 --> 0:05:35.279 was kind of just playing along to myself playing drums 0:05:36.080 --> 0:05:37.880 with the cat like I didn't even know how to plays, 0:05:38.200 --> 0:05:39.920 just hitting random notes, you know. It sound like a 0:05:40.000 --> 0:05:42.680 nursery rhyme probably, And then I noticed in the room 0:05:42.680 --> 0:05:45.560 there was a second cassette deck with the same thing. 0:05:45.600 --> 0:05:47.360 So I stuck a mic into that, stuck the mic in, 0:05:47.400 --> 0:05:51.520 did that and recorded myself just hitting these keys over 0:05:51.520 --> 0:05:53.320 the top of me. You're playing drums and listened back 0:05:53.320 --> 0:05:57.479 to that tape and it was me playing keyboard to myself. 0:05:57.520 --> 0:05:59.719 It was me playing two things at once. It blew 0:05:59.760 --> 0:06:09.040 my still would have been about eleven amazing. Yeah, yeah, 0:06:09.279 --> 0:06:13.839 who did the idea of starting to do it with 0:06:13.880 --> 0:06:18.440 the ideas of making it for other people to hear? Start? Well, 0:06:18.480 --> 0:06:22.839 I mean, like like every young teenage musician, I had 0:06:22.920 --> 0:06:28.000 like grandiose dreams of being a rock star, especially because 0:06:28.560 --> 0:06:32.000 my favorite band was Silver Chair and they were only 0:06:32.040 --> 0:06:35.120 like fifteen sixteen and I was sort of like twelve 0:06:35.200 --> 0:06:37.919 thirteen by that point. I was like, I was like, 0:06:37.960 --> 0:06:40.279 they're fucking like fifteen sixteen. That means I've got like 0:06:40.320 --> 0:06:43.640 two three years, Like two three years I can I 0:06:43.680 --> 0:06:46.240 can still get to where they're they are. I can 0:06:46.279 --> 0:06:48.200 be them. You know, you think it had to do 0:06:48.279 --> 0:06:50.800 with how young they were, because because they were such 0:06:50.839 --> 0:06:54.320 little kids. Yeah, for whatever reason, whether it was because 0:06:54.320 --> 0:06:58.239 I do you know, because they were like young Australian boys, 0:06:59.000 --> 0:07:01.160 or because like they're kind of they would have been 0:07:01.200 --> 0:07:03.480 a similar headspace, you know that they kind of like 0:07:03.600 --> 0:07:06.279 their approach to it would have been in the same 0:07:06.320 --> 0:07:08.480 realm as mine. How did you decide to end up 0:07:08.520 --> 0:07:11.760 being a solo artist as opposed to being in a band. 0:07:13.120 --> 0:07:17.480 Uh well, I always I played in bands the whole 0:07:17.480 --> 0:07:19.880 time in high school, Like I was obsessed with the 0:07:19.880 --> 0:07:21.760 idea of playing in bands, but I also had the 0:07:21.840 --> 0:07:26.080 making music thing at home since before I accidentally multi 0:07:26.080 --> 0:07:28.720 tracked myself. That time I was playing at a band. 0:07:28.760 --> 0:07:31.480 It was kind of this um this music school that 0:07:31.480 --> 0:07:34.880 I went to where like they teach you an instrument, 0:07:34.960 --> 0:07:38.880 mom's drums, and then every Saturday morning they get all 0:07:38.920 --> 0:07:43.360 the kids from different instrument like tuitions and put them 0:07:43.480 --> 0:07:45.480 and put them in bands. So they put me in 0:07:45.520 --> 0:07:47.640 the in a band. So I was in a band 0:07:47.640 --> 0:07:51.880 that age eleven, which I fucking loved. I could not wait. 0:07:52.120 --> 0:07:54.680 I could not wait for Saturday morning to come around 0:07:55.000 --> 0:07:57.640 because it was like, you know, playing music with other 0:07:57.880 --> 0:08:02.240 kids was just this another mind blowing thing. But I 0:08:02.280 --> 0:08:04.120 also and then so I sort of got better at that, 0:08:04.120 --> 0:08:06.160 and I slowly got better at recording music by myself, 0:08:06.200 --> 0:08:10.040 and the two worlds never really met, Like even even 0:08:10.080 --> 0:08:14.360 at the start of like Tamian Parlor, when I was 0:08:14.440 --> 0:08:18.280 sort of like twenty one twenty two, we were playing 0:08:19.080 --> 0:08:21.840 songs that I'd written for us to play live and 0:08:21.880 --> 0:08:23.880 they were different to the ones I was recording at home, 0:08:24.040 --> 0:08:26.920 we even had on MySpace. It took a while for 0:08:26.960 --> 0:08:30.480 the two worlds to kind of converge, if that makes sense, 0:08:30.600 --> 0:08:32.320 because I just didn't know how. I didn't know how 0:08:32.360 --> 0:08:35.040 to translate what I was kind of doing at home 0:08:35.120 --> 0:08:39.360 and like expressing on my own because that music was 0:08:39.360 --> 0:08:42.760 like super kind of I guess, I guess sensitive is 0:08:42.800 --> 0:08:47.440 the word, and kind of nuanced and genre less. But 0:08:47.520 --> 0:08:49.360 the music I was making in bands, I mean, like 0:08:49.600 --> 0:08:51.280 that was music was more kind of like what we 0:08:51.280 --> 0:08:53.400 had listened to was a group like kind of more angsty, 0:08:53.520 --> 0:08:57.600 like heavy kind of stuff. At the time that you 0:08:57.679 --> 0:09:02.360 started making music with the idea of putting it up 0:09:02.360 --> 0:09:05.560 on my space, what would you say the influences were 0:09:05.600 --> 0:09:08.079 what we listening to and what might might have been 0:09:08.760 --> 0:09:11.560 who would you hope to get to play with? For example, 0:09:12.360 --> 0:09:14.199 that was around the time that I was super kind 0:09:14.240 --> 0:09:18.040 of obsessed with sixties music, so it was kind of 0:09:18.080 --> 0:09:21.839 it was all like the doors Jefferson Airplane. I didn't 0:09:21.840 --> 0:09:25.079 have a lot of kind of like modern day idols 0:09:25.760 --> 0:09:28.400 um just because of like that was a kind of 0:09:29.600 --> 0:09:31.440 lifestyle I was leading, and like I was living in 0:09:31.480 --> 0:09:33.760 a sharehouse with other people were kind of just we 0:09:33.800 --> 0:09:39.240 were just permanently listened to seventies psycher rock constantly. Um, 0:09:39.840 --> 0:09:42.320 I mean there was this band called dungyin that I 0:09:42.400 --> 0:09:46.400 was super into it, still am to this day. That's 0:09:46.480 --> 0:09:49.559 that's still just gives me goosebumps, you know. Yeah, it's 0:09:49.559 --> 0:09:51.640 and like it's funny because I listened now and I 0:09:51.640 --> 0:09:55.400 can hear my first album all over it. You know, 0:09:56.679 --> 0:09:58.840 It's something I didn't really notice at the time consciously, 0:09:58.920 --> 0:10:01.840 but just like the Yeah, and then how do you 0:10:01.880 --> 0:10:06.120 describe how the second album differed from the first. It 0:10:06.200 --> 0:10:10.160 was it was a hundred times more indulgent, which is 0:10:10.400 --> 0:10:14.160 what I wanted, you know, because I'd had this kind 0:10:14.200 --> 0:10:21.040 of like surge of confidence that I didn't have previously prior, 0:10:21.960 --> 0:10:23.800 you know, like when I made in a Speakers is 0:10:23.840 --> 0:10:27.959 kind of like shy stoner kind of you know. And uh, 0:10:28.160 --> 0:10:31.640 and you know, like we had a lot of I 0:10:31.720 --> 0:10:34.480 had a lot of success the first album. We went 0:10:34.520 --> 0:10:37.040 on tours and all this kind of stuff, and so 0:10:37.080 --> 0:10:42.520 I suddenly realized that, um, it kind of validated my 0:10:43.679 --> 0:10:47.000 approach and my kind of like what I wanted to do. 0:10:47.120 --> 0:10:49.600 So I can't say Lonerism was kind of like just 0:10:50.320 --> 0:10:54.440 blowing that wide open. How did the third album when 0:10:54.480 --> 0:10:57.920 that came, how was that different? Well, I mean the 0:10:57.960 --> 0:11:00.600 second album, I still didn't fully know what I was doing. 0:11:00.640 --> 0:11:04.160 I kind of like I got Ableton and I and 0:11:04.200 --> 0:11:07.920 instead of just sort of it being the corner of 0:11:07.920 --> 0:11:10.120 my bedroom in a share house that I made it 0:11:10.240 --> 0:11:12.240 for the second album, I was like, fuck it all right, 0:11:12.240 --> 0:11:15.560 I'm gonna dedicate to this, you know, So I set 0:11:15.640 --> 0:11:17.679 up a studio in a in a in a room 0:11:17.840 --> 0:11:20.400 in my sharehouse. It got it's got, it's my studio, 0:11:20.440 --> 0:11:23.800 got its own full room for once, um, and I 0:11:23.840 --> 0:11:28.200 would just make hours and hours of I just I 0:11:28.320 --> 0:11:31.280 like was using SyncE Organs fucking anything, you know. I 0:11:31.320 --> 0:11:33.320 was kind of it was kind of just that, you know, 0:11:34.360 --> 0:11:38.720 that kind of typical moment for a solo artists where 0:11:38.720 --> 0:11:42.560 they where they make their you know, their self indulgent opens. 0:11:42.559 --> 0:11:44.520 It really was that. Looking back, like at the time, 0:11:44.559 --> 0:11:47.000 I was like, fuck yeah, you know, it seemed like 0:11:47.040 --> 0:11:52.960 the first two albums, the arrangement seemed more complicated. Yeah, 0:11:52.960 --> 0:11:56.439 that's probably true because in the third one, I was 0:11:56.559 --> 0:11:58.680 kind of like influenced by a lot of kind of 0:11:58.760 --> 0:12:02.880 R and B and electronic music. So I was kind 0:12:02.880 --> 0:12:06.560 of embracing the way that that music was made more, 0:12:06.920 --> 0:12:08.920 do you know what I mean, sort of like finding 0:12:08.920 --> 0:12:11.600 a loop and kind of like almost kind of making 0:12:12.640 --> 0:12:15.720 making a beat like a you know, in like the 0:12:15.800 --> 0:12:18.080 hip hop sense, like sort of just having like a 0:12:18.120 --> 0:12:20.960 four bar loop and just sort of making the structure 0:12:20.960 --> 0:12:24.480 out of that, rather than going like, Okay, we're going 0:12:24.559 --> 0:12:26.120 to be going with this bit for a while, We're 0:12:26.120 --> 0:12:27.800 gonna jam on these chords and then like do a 0:12:27.840 --> 0:12:29.839 huge drum fill and go into these chords and then 0:12:29.960 --> 0:12:31.920 let this thing for five and a half bars. Do 0:12:32.000 --> 0:12:36.040 you remember what the music that inspired that switch? Like 0:12:36.080 --> 0:12:37.719 what would have been the things you were listening to 0:12:38.280 --> 0:12:40.760 that maybe you want to make more program based music. 0:12:41.600 --> 0:12:44.760 I mean, like it was always music that I was into, 0:12:45.679 --> 0:12:47.960 but just music that I'd kind of shied away from 0:12:47.960 --> 0:12:53.280 making because I figured, like my world was weird, expansive 0:12:53.320 --> 0:12:56.840 side rock, and like if I tried to do more clean, 0:12:57.120 --> 0:13:01.839 focused pop kind of stuff, I assumed it wouldn't work, 0:13:02.480 --> 0:13:04.360 you know. So Currence was the album where I'd kind 0:13:04.400 --> 0:13:06.400 of like just went, I'm going to try it, you know, 0:13:07.200 --> 0:13:09.719 try to make kind of like disco R and B 0:13:10.080 --> 0:13:13.320 kind of like, really the beats are like super strong 0:13:13.360 --> 0:13:17.040 and heavy. Would you would you consider the first two 0:13:17.120 --> 0:13:20.800 as a pair and the last two was pair? No, 0:13:20.920 --> 0:13:23.640 I've never thought of it that way. Um, all right, 0:13:23.679 --> 0:13:26.400 maybe some people would, I guess with the third one. 0:13:27.120 --> 0:13:28.680 Third one where I was is the one where I 0:13:28.679 --> 0:13:31.400 was kind of like I knew that there would be 0:13:31.640 --> 0:13:33.800 fans of the first two that turn their noses up, 0:13:34.040 --> 0:13:35.400 Like I was ready for that, do you know what 0:13:35.480 --> 0:13:41.000 I mean? I was kind of like I decided, you know, 0:13:41.160 --> 0:13:45.360 kind of definitively that that. Um, but I wanted to 0:13:45.480 --> 0:13:47.520 change my sound, and I knew that some people wouldn't 0:13:47.520 --> 0:13:48.559 like it, you know what I mean. That was kind 0:13:48.559 --> 0:13:51.480 of that part of my career where where I kind 0:13:51.480 --> 0:13:53.800 of like sucked it up. Do you know what? It's 0:13:53.800 --> 0:13:57.120 a great thing to do, Earthly on If you'd made 0:13:57.400 --> 0:14:01.520 four albums that sounded in the same vain and then 0:14:01.559 --> 0:14:05.880 the fifth one was different, it would have probably alienated 0:14:06.080 --> 0:14:09.320 more people. Yeah, you know, It's like you did it 0:14:09.480 --> 0:14:14.280 early enough in the trajectory where you let people let 0:14:14.320 --> 0:14:17.000 the audience know that, hey, we're gonna go on different 0:14:17.120 --> 0:14:19.480 rides and I want you to come with me and 0:14:20.280 --> 0:14:24.720 I think people are more forgiving of the style changes 0:14:24.760 --> 0:14:29.200 if you prepare them for it. Yeah, yeah, if if 0:14:29.600 --> 0:14:33.040 if change is one of the constants. Yeah, It's like 0:14:33.080 --> 0:14:35.240 if if the Ramans fifth album, All of a Sudden 0:14:35.280 --> 0:14:38.480 was a you know, program dance record, I don't think 0:14:38.480 --> 0:14:41.560 anybody would have been excited about that, right. And also 0:14:41.600 --> 0:14:44.320 something I realized was that, I mean, what's funny is 0:14:44.360 --> 0:14:49.880 that the first album and the second one I like 0:14:50.400 --> 0:14:53.440 as well, Taiman Palla was always kind of perceived as 0:14:53.480 --> 0:14:56.720 a band, and I was kind of cool with that 0:14:57.080 --> 0:14:59.520 because like, because it's it sounded like a band, people 0:14:59.520 --> 0:15:03.320 will you know, it's it sounds like a bunch of 0:15:03.360 --> 0:15:05.400 guys jamming, you know, like I love this, I love 0:15:05.920 --> 0:15:07.440 I love these guys, you know, I love the way 0:15:07.440 --> 0:15:11.360 they jam out. Um. But I kind of like it. 0:15:11.480 --> 0:15:14.320 Kind of it was eating away at me that it 0:15:14.400 --> 0:15:19.240 wasn't like the truth. Um. And also because and also 0:15:19.360 --> 0:15:22.360 like I wanted I wanted people to know that it 0:15:22.480 --> 0:15:26.880 was kind of more of a solo recording project because 0:15:27.280 --> 0:15:31.640 I realized that solo artists get away with completely changing 0:15:31.640 --> 0:15:34.080 their sound a lot more than bands, do, you know, 0:15:34.200 --> 0:15:37.760 like with someone like like Beck, you know, Beck can 0:15:37.800 --> 0:15:40.840 just take a complete left turn with one album, you 0:15:40.920 --> 0:15:44.440 know um, and everyone'll be like, oh, well, that's that's back, 0:15:44.640 --> 0:15:46.440 that's what he does. But like with a band, it's 0:15:46.520 --> 0:15:48.600 kind of like I think, I feel like a few 0:15:48.640 --> 0:15:51.720 things have to happen, like everyone in the band or 0:15:51.720 --> 0:15:54.800 everyone in the group rather has to like decide on 0:15:54.840 --> 0:15:57.960 it together, which is more difficult. You know. They all 0:15:58.000 --> 0:16:00.240 have to be sort of like moving in the same action, 0:16:00.280 --> 0:16:03.200 whereas people, you know, people, especially as time goes by, 0:16:03.280 --> 0:16:07.560 people like Drift Apart. When he decided to give the 0:16:07.560 --> 0:16:11.880 project a name originally as opposed to your name was 0:16:11.920 --> 0:16:14.360 it was it the opposite of what you just said 0:16:14.480 --> 0:16:18.160 was the original impression was for it to seem like 0:16:18.280 --> 0:16:22.800 a band. Yes. Absolutely. In fact, the record label when 0:16:22.840 --> 0:16:25.000 they signed us didn't even know we were it didn't 0:16:25.040 --> 0:16:26.640 it didn't know it was me that was playing drums 0:16:26.680 --> 0:16:29.880 and guitars and bass and multi jacking like they we 0:16:30.720 --> 0:16:34.400 I outright lied to them when we met up, Like 0:16:34.400 --> 0:16:38.480 the contract that we signed was for three of us. Um. 0:16:39.680 --> 0:16:43.320 I think yeah, because I just I didn't want to 0:16:43.320 --> 0:16:47.360 say it was just me, you know, um for a 0:16:47.440 --> 0:16:49.760 number of reasons, Like number one, I was kind of shy. 0:16:49.920 --> 0:16:54.680 I just you know, it's really weird because looking back, 0:16:54.720 --> 0:16:56.240 it's kind of like, why the fuck didn't you just 0:16:56.360 --> 0:17:00.520 like own it? You know. Um. But also, like the 0:17:00.640 --> 0:17:03.800 kind of music scene I was in was a very 0:17:04.119 --> 0:17:09.880 communal scene, you know, like we lived to jam and 0:17:09.960 --> 0:17:14.800 lived to like play gigs. So like for the thing 0:17:14.880 --> 0:17:19.199 that finally came out of that scene to be just 0:17:19.320 --> 0:17:22.280 one like a solo project, think it felt kind of wrong, 0:17:23.480 --> 0:17:24.800 like they'd be it would be the kind of this 0:17:24.960 --> 0:17:26.920 like scene that we kind of had going in Perth 0:17:27.400 --> 0:17:29.480 was kind of like a bunch of us, but there 0:17:29.520 --> 0:17:32.399 weren't that many people. But that what we made tons 0:17:32.440 --> 0:17:34.960 of bands out of it, you know, so they'd be 0:17:34.960 --> 0:17:39.200 like ten people and they'd be like six bands with 0:17:39.240 --> 0:17:42.760 like different combinations of those people, just just because you know, like, hey, 0:17:42.760 --> 0:17:45.000 why the fuck, why the funk not when we come back, 0:17:45.000 --> 0:17:51.440 we'll have more with Kevin Parker. We're back with Rick 0:17:51.560 --> 0:17:53.800 and Kevin Parker. It feels like it was like four 0:17:53.920 --> 0:17:58.040 or five years between the third album and the new 0:17:58.080 --> 0:18:02.240 album M and that before yous you didn't you didn't 0:18:02.280 --> 0:18:06.560 write songs or make any music. I did. I absolutely did, 0:18:06.680 --> 0:18:09.439 but I just didn't see it as taim and Parlor, 0:18:09.720 --> 0:18:13.119 And it kind of seemed more like a drag to 0:18:13.760 --> 0:18:16.400 think of a song as Tame and Parlor, because it like, 0:18:16.480 --> 0:18:19.520 every time I thought of a song, if I imagine 0:18:19.520 --> 0:18:21.800 it as taim and Parlor, it came loaded, like the 0:18:21.840 --> 0:18:24.760 idea was loaded with all these kind of things that 0:18:24.800 --> 0:18:27.040 came with it, Like it just seemed so much more 0:18:28.119 --> 0:18:31.080 magical and wondrous to think of it as a song 0:18:31.119 --> 0:18:35.639 I could collaborate with a different artist on, you know, 0:18:35.920 --> 0:18:39.919 like me making taim and Parlor music now, h and 0:18:40.040 --> 0:18:44.960 always it's like it's a deep dark hole that I 0:18:45.040 --> 0:18:47.040 have to go into and you know, like come out 0:18:47.080 --> 0:18:49.840 like it drains, it drains every bit of me, you know. 0:18:51.640 --> 0:18:53.240 And I realized that the end, like working at the 0:18:53.320 --> 0:18:55.879 end of the third album, you know, I've I've I 0:18:55.920 --> 0:18:58.400 always dreamt of making a tam and Parlor album where 0:18:58.400 --> 0:19:00.959 I didn't feel completely spent at the end of it, 0:19:01.000 --> 0:19:04.639 like completely drained and completely like depressed even And I 0:19:04.720 --> 0:19:07.240 kind of realized after a while that that was inevitable 0:19:07.280 --> 0:19:09.359 and that was the only way it could be. In 0:19:09.400 --> 0:19:12.080 the course of those four years before you started working 0:19:12.200 --> 0:19:15.439 on a new album, did it reveal itself that it 0:19:15.520 --> 0:19:18.639 was time or was it the decision you made, or 0:19:18.680 --> 0:19:22.440 did one particular track come up where you felt like, oh, 0:19:22.480 --> 0:19:27.360 this could be the beginning of something. It was a 0:19:27.359 --> 0:19:30.320 combination of the first two, you know what it was. 0:19:30.480 --> 0:19:35.360 It was more like it was the process of it, 0:19:35.440 --> 0:19:38.600 because I'd fallen in love so much with this idea 0:19:38.680 --> 0:19:43.800 of music being a collaborative thing, you know, like the 0:19:44.000 --> 0:19:49.359 energy in a room when you're working with other people, 0:19:49.440 --> 0:19:51.400 like you know, I started working with Travis Scott someone 0:19:51.440 --> 0:19:53.800 like that, Like the energy in the room is just 0:19:53.840 --> 0:19:58.919 so electric, you know, and I was like, hey, I 0:19:58.960 --> 0:20:01.320 can I can have that energy on my own too. 0:20:01.359 --> 0:20:06.239 I just have to. I just have to embrace it, 0:20:06.359 --> 0:20:08.919 you know. And so then I started so like the 0:20:08.960 --> 0:20:13.120 way I started working on the album again was by 0:20:13.200 --> 0:20:15.679 like pretending I was in a recording session with a 0:20:15.680 --> 0:20:18.719 bunch of other people, you know, staying up late, just 0:20:18.800 --> 0:20:22.919 getting getting drunk and stoned, you know, and kind of 0:20:22.920 --> 0:20:27.160 just having a party by myself. I guess, just embracing 0:20:27.160 --> 0:20:30.760 that kind of way that when you're on the in 0:20:30.800 --> 0:20:34.200 the depths of working by yourself, you feel like many people. 0:20:34.880 --> 0:20:39.600 Do you feel like you're channeling particular people or is 0:20:39.640 --> 0:20:42.520 it more of a general feeling of this is not me, 0:20:42.560 --> 0:20:45.960 it's someone else, or do you envision or Travis is 0:20:46.000 --> 0:20:49.000 here with me? What would you do? Both? But in 0:20:49.040 --> 0:20:51.720 different times it's like me imagining I'm someone else is 0:20:51.760 --> 0:20:54.680 kind of more when I get stuck, you know, it's 0:20:54.720 --> 0:20:58.080 like what would or would Forrell Williams do in this moment? 0:20:58.119 --> 0:21:01.639 You know. Actually it's funny. One of the one of 0:21:01.680 --> 0:21:04.320 the things that got me inspired I was what I 0:21:04.359 --> 0:21:08.679 started for some reason. I started watching um there's this 0:21:08.760 --> 0:21:16.840 like six part YouTube video series on the making of Justified, 0:21:18.400 --> 0:21:21.720 and it's it's it almost seems like leaked footage because 0:21:21.720 --> 0:21:23.760 it's just fly on the wall. Someone's just holding a 0:21:23.840 --> 0:21:26.160 video camera the entire time. It starts from like them 0:21:26.200 --> 0:21:29.359 in the in Justin Timberlake's private jet and they're flying 0:21:29.400 --> 0:21:32.639 to the recording session. But most of it is just 0:21:32.720 --> 0:21:36.879 someone sitting on the couch like filming Farrell and Justin 0:21:37.840 --> 0:21:40.760 kind of messing around, like having a laugh and like 0:21:40.880 --> 0:21:42.639 making the song. So you can see Farrell kind of 0:21:42.640 --> 0:21:49.240 piece together um uh Senorita. So like there's like, you know, 0:21:49.280 --> 0:21:51.040 like a twenty minute patch of him just sort of 0:21:51.040 --> 0:21:56.119 playing drums just so good. That's what it's that's not 0:21:56.160 --> 0:21:58.960 how it starts out, but he slowly, it seems slowly 0:21:59.000 --> 0:22:03.240 converge on the beat that ends up being signorated, you know, 0:22:04.600 --> 0:22:06.440 so he's like, Okay, gets up, He's like, hey, leap 0:22:06.480 --> 0:22:11.080 that back. And I don't know why, but for some reason, 0:22:11.119 --> 0:22:14.199 that kind of just made me think about how I 0:22:14.280 --> 0:22:17.240 make music, and it kind of reminded me. In fact, 0:22:17.240 --> 0:22:19.639 one of the songs on the album kind of like 0:22:19.720 --> 0:22:24.920 came out sounding similar to something I would imagine Forrell 0:22:25.000 --> 0:22:27.639 and Justin would be doing for Justin Team, which is 0:22:27.680 --> 0:22:30.840 the song breath Deeper. The first the beat from the 0:22:30.880 --> 0:22:34.560 start of Breath Deeper was kind of me pretending us, no, 0:22:34.760 --> 0:22:37.439 it's Farrell and Justin making Justified. Let me ask a 0:22:37.440 --> 0:22:43.159 specific question. You often have a little intro signature intros 0:22:43.200 --> 0:22:46.479 that are not necessarily part of the track, you know, 0:22:46.560 --> 0:22:49.600 like the drums. It will either be a different beat 0:22:49.680 --> 0:22:53.760 or it sounds really different and it sets up the song, 0:22:54.440 --> 0:22:56.600