Since everyone has already seen everyone else play, there’s an onus to do more fucked-up shit.īesides, I never relied on a music scene to do what I do because I make music alone, and when I started out there wasn’t a scene around me anyway. Let’s stay here and make music for the rest of Perth.” Maybe it’s that sort of decision that makes the city musically productive. Touring in Melbourne and Sydney isn’t really in the cards for young Perth bands because it takes ages to fly there and costs a lot of money. We have our interpretations of styles of music that are popular in other places, so we catch on to the rest of the world. I think we have that balance going on where we’re so far away from the other cities in Australia that we feel disconnected, but we’re connected enough to know what’s going on in the outside world. There’s definitely something to be said for Perth people doing what they do to please themselves rather than anyone else. How has that affected the music you make? Or do you think people unnecessarily romanticize the idea that isolated spaces promote innovation? Kevin, you’re from Perth, which is thousands of kilometers from the next major town or city. With his latest album, Currents, Parker draws on new inspiration from the funky crucible of ’80s electro-pop and a beguiling set of new life circumstances. But in only a few short years, Parker’s infectious brand of lysergic, riff-heavy pop has gone from bedroom project to global juggernaut, striking chords with young festivalgoers and aging psych-snobs alike. Hailing from Perth in Western Australia, one of the world’s most isolated cities, Tame Impala mastermind Kevin Parker might seem an unlikely candidate to top the charts alongside Ed Sheeran and Taylor Swift.
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