![\"\"](\"https:\/\/www.thomann.de\/blog\/wp-content\/uploads\/2222\/04\/Kevin-Parker-room.png\")
<\/a><\/p>\nWho??\u00a0Kevin Parker,<\/strong> the singer of\u00a0Tame Impala<\/strong>!\u00a0Well in fact, he is Tame Impala. In 2010, the Australian <\/strong>one-man-project \/ band released Innerspeaker<\/strong><\/a><\/em> (2010, Modular), his\u00a0f<\/strong>irst LP<\/strong>. Although the reviews were positive, a certain condescension was perceived. There was talk that it was too closely imitating the sounds of\u00a0The Beatles’ Revolver<\/em><\/a><\/strong> –<\/em>as if that were a bad\u00a0<\/em>thing!\u00a0Well, nine years later, nobody doubts that Kevin Parker is a genius<\/strong> and that Tame Impala<\/strong> are here to stay. In his other two releases – Lonerism<\/strong><\/em><\/a> (2012, Modular) and Currents<\/strong><\/em><\/a> (2015, Modular) as well as in other projects, from Pond<\/strong><\/a>, to production with Melody’s Echo Chamber<\/strong><\/a>, Lady Gaga <\/strong>or Rihanna<\/strong>, Parker has sublimated a sound that mixes classical psychedelia<\/strong> (Revolver<\/strong>‘s Beatles<\/strong>, yes, but also neo-psychedelia<\/strong>, and psychedelic pop<\/strong> like\u00a0The Byrds<\/strong><\/a>) with some elements of R&B<\/strong>, hip-hop<\/strong> and urban music<\/strong>. The result is unbeatable and we’re going to analyse it here.<\/p>\n Basically, it sounds the way Kevin Parker wants it to sound. As we said before, its sound can be summed up as a throwback<\/strong> to the sonic experimentation of the 60s<\/strong> but taken to another level with contemporary technology\u00a0<\/strong>(as well as an enormous composition talent<\/strong>, of course). His modus operandi can be summed up in a phrase pronounced by himself: “Electronic is not the opposite of rock<\/strong>“. From this statement of intentions, one can better understand images like the one above, belonging to Parker’s home studio<\/strong>. So, rather than talking about Rickenbackers<\/strong><\/a> and amplifiers<\/strong><\/a> (at the end we will make a brief tour), it is more interesting to talk about synthesizers<\/strong><\/a>. Yes: Parker relies on them to create<\/strong> atmosphere<\/strong>\u00a0that we never imagined in Pink Floyd<\/strong><\/a>, for example, and to bring psychedelia to previously unknown places.<\/p>\n Very often we see Parker frolicking around a Roland Juno 106,\u00a0<\/strong>an analog polyphonic synthesizer<\/strong> released in\u00a01984, <\/strong>which was the best selling synth of the 80s<\/strong> until it was surpassed by the D-50. <\/strong>Today the closest thing you can get is the\u00a0Roland Juno DS<\/strong><\/a>, one of the most versatile synthesizers on the market. It is available in a\u00a061-key version<\/a><\/strong>, a 76-key version<\/strong><\/a> and a full-sized 88-key version<\/strong><\/a> (shown above). Although in each of the versions its features change slightly, the common denominator of the 3 versions is its versatility<\/strong> (few portable synthesizers offer so much in so little), which makes it perfect for any type of mobility, its wide range of sounds<\/strong> available (more than 1000<\/strong>) in a very intuitive<\/strong> way and the possibility of increasing the sound library<\/strong> through downloads\u00a0<\/strong>and a wide range to configure divisions within the same synthesizer.<\/p>\n You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n
\nHow does psychedelia sound in 2019?<\/h3>\n
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