KEVIN Parker has stood out as one of the most engaging figures in modern music for a number of years now.

An absolute enigma and a self-professed recluse, it’s entirely possible that we’ll never know just how much he’s capable of. The mastermind behind the ever impressive Tame Impala; Parker had made his intentions to curtail his reputation as a ‘psychedelic’ revivalist abundantly clear in the weeks and months that preceded the release of their third full length LP.

Suffice to say, Parker has achieved a great deal more than that on the LP; cementing his place as one of the most inventive musical minds of the 21^st Century.

The first song on the album’s no doubt painstakingly put together tracklisting, ‘Let It Happen’ is epitomised by squirming synthesisers that beam with the restless energy of a creative who’ll be pigeonholed no longer.  The bustling percussion and Moroder-esque tendencies that are present throughout the record’s exhilarating opener faintly resemble the pomp and circumstances of French outfit Justice’s sophomore effort Audio Video Disco; whilst its glitchy tempo shows that Parker’s well known penchant for experimentation remains unblemished and uncontainable. As the band’s lucid guitar lines burst into life for the first time on their third LP, it’s already evident that those who have the good sense to listen to the LP are in for quite a thrilling experience.

Parker’s new found infatuation with gleaming synthesiser in lieu of the more guitar based sound of past releases is kept at the forefront on ‘The Moment’, a track that benefits from a well woven groove that serves to embed itself  into the depths of the listener’s consciousness. What is perhaps most remarkable about the record is how easy it is to ingest Tame Impala’s abrupt change in approach. Despite the fact that it sounds somewhat removed from the band that we’d initially loved on albums such as Innerspeaker and Lonerism, it seems utterly organic.

This no doubt played on Parker’s mind as he carefully constructed the LP, most likely acting as the spark which blossomed into Yes I’m Changing;  a track on which he urges Tame Impala’s spirited fanbase to embrace this change in approach . Acknowledging the band’s (and perhaps his own from a personal standpoint) transition is a markedly bold step that few musicians would have the gravitas to pull off without coming across as self righteous.

The colossal sound of ‘Eventually’ may be familiar by now but it’s effectiveness is not deterred within the context of the record; not to mention the fact that the song harbours one of Parker’s most prolific vocal performances to date, dripping with the charisma of a less aggressive John Lennon.

The same can be said for the hotly debated and ultimately self deprecatory ‘Cause I’m a Man’; the previously released excerpt from the record on which Parker delivers an enjoyable sermon that acknowledges the plight that women must face in society, making the hardships faced by the male population pale in comparison. Despite the fact that they aren’t known as a band that are revered for their hard line stance against the evils of the world, it’s refreshing to see group with their kind of clout taking the time to deliver such a message;  all the while accompanied by a laid back bassline that nods towards the sumptuous, sound of legends such as The Isley Brothers and Bobby Womack nonetheless.

Boasting one of the funkiest riffs this side of the respective catalogues of Nile Rodgers and George Clinton, ‘The Less I Know The Better’ is one of the more urgent moments to be found on the record’s 13 song tracklisting. Funnily enough,  despite both bands totally subverting from their staple psychedelic sound, it is here where Tame Impala and Unknown Mortal Orchestra navigate common ground once again; with this track causing an accidental comparison to much of UMO’s Multi Love.

The jarring ‘Past Life’ comes across as more of an experiment than a track of its own as a result of a deep, pitch shifted spoken word passage that is recited in the background.  Despite the fact that it definitely registers as one of the more peculiar moments in this most recent collection, its lysergic keys and irresistible textures ensure that Kevin Parker’s downright stunning production shines through.

The under two minutes long ‘Disciples’ almost acts as an interlude back into the realm of Lonerism and Innerspeaker, with guitars melodies once again regaining control of their focus for a brief moment.

For someone who was unsure of what to expect from the group’s third full length, ‘Reality In Motion’ certainly wouldn’t be the worst place for them to start. Harnessing the lavish sound that makes this record such an invigorating listen from start to finish, it is atypical of both the record’s over arching motifs and a prime example of why Kevin Parker will be renowned as one of our generation’s most essential songwriters.

Brought to a halt by the intense ‘New Person, Same Old Mistakes’, the track features an eerie synth tone which vaguely resembles that which was utilised on Mac DeMarco’s ‘Chamber Of Reflection’. In addition, the eastern guitar that lingers the in the background during its verses brings an entirely new element to the table as well as an air of playful menace.

Simply put, this album is a staggering achievement and is likely going to go down as a pivotal turning point in Parker’s career.

Shedding his previous skin in favour of this adventurous but ultimately rewarding endeavour, the Australian native and his band have accosted their fans and requested that they undertake this journey with them.

If you’re wise, you’ll embark with very little trepidation.