Tame Impala & Present Fatalism
One of the reasons Tame Impala is a popular band is because his ideological function is present-fatalistic. His ideas, subconsciously or not, promote a passive fatalism:
This mode of distracted, feel good, total escapism (into a hedonistic, fatalistic reality) benefits the corporate superstructure we currently exist inside of.
“Fatalists. It is unclear why young people embrace such attitudes toward time so early in their lives, but it is abundantly clear that ding so negatively affects their health and their future. For such students, the more extreme their fatalistic orientation, the more aggressive, anxious, and depressed they are…
Surprisingly, these young men and women are also high on novelty-seeking. Searching for something new may seem to them a means to offset the predictably negative course life has charted for them. It could also open them to trying new ways of getting revenge against society or its representatives for their unhappiness.” — Philip Zimbardo, The Time Paradox
Tame Impala’s pop-fatalism helps catalyze capitalist consumption.
After all, Tame Impala's 3 biggest records were released by a company within a company within a company: who’s parent company has a yearly revenue of $13 billion —
Tame Impala > Modular Recordings > Universal Music Australia > Universal Music Group > Vivendi
These multi-billion dollar global corporations would benefit if their media assets subconsciously hypnotized modern youths into a fatalistic despair. It encourages them to shop.
BTW — What the fuck is Vivendi? I’ve never heard of it.
Apparently Vivendi is a French mass media conglomerate based in Paris.
Total assets of $34 billion. Thirty four billion dollars!
Founded in 1853 by Emperor Napoleon III… Fuck.