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Someone else who’s like that is Wayne Coyne from Flaming Lips - they’re not sacred about how something has come to be. You can have a whole song with all these beats in it, and you can just isolate one bit and take that out and put it into something else and scrap the rest of it. I guess just how malleable an idea can be. What did you learn or take away from your time together? Even though you can see him all over the place, musically I always knew I was in safe hands. I feel like I was so privileged to be in the room. I hate to say too much - I don’t want to give away his methods or whatever. To him, a lot of the creative process is just talking about it conceptually. He loves to just wax lyrical about music.
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I guess the first impression I got was how into music he is. What were your first impressions of Kanye when you met him at the studio? Everything after meeting up with him once was over the phone, email and stuff, because I was back in Perth. Willo was like, “Oh, you’ve got to meet Kevin, then.” So he took me out to studio one day, and we just chatted for a bit, and it kind of went from there. One day he said that Kanye wanted something psychedelic. He was working on the Tame Impala live show, so I got pretty close with him. He’s been a longtime collaborator with Kanye West, with his stage design and I think album covers as well. You’re credited on Kanye West’s recent song “Violent Crimes.” How did you get involved on ye? Stream Tame Impala's EP of 'Currents' B-Sides and Remixes