Get ready for a mega double-header tour next year. Tame Impala have today (Dec. 9) announced a North American tour, kicking off next spring and into the summer, featuring special guest Perfume Genius joining on all the dates. The 23-date trek, which runs from late May through early August 2020, will take the bands into major indoor and outdoor arenas and amphitheaters.

Prior to the upcoming North American tour, Tame Impala, the psychedelic rock/pop project of Australian artist/producer Kevin Parker, will also tour across California next March alongside singer-songwriter Clairo, followed by a show with two-time GRAMMY nominees MGMT in Mexico City later that month.

Read: How A California Fire Affected Tame Impala's Much-Awaited Next Album

The forthcoming 2020 trek will follow Tame Impala's new album, The Slow Rush, scheduled for release on Modular next February. The album is a follow-up to Tame Impala's 2015 release, Currents, and 2012 full-length, Lonerism, both of which received GRAMMY nominations for Best Alternative Music Album.

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This past March, Tame Impala released "Patience," their first official single since 2015's Currents, followed by "Borderline" in April, the latter of which serves as the debut single off the group's 2020 album, The Slow Rush. Earlier this year, Tame Impala launched a U.S. tour, which included headlining slots at Coachella and Austin City Limits.

Perfume Genius, the art-pop project of musician/artist Mike Hadreas, last released his 2017 album, No Shape. He spent the larger portion of 2019 co-creating, performing in and touring "The Sun Still Burns Here," an evening-length dance and music project in collaboration with choreographer Kate Wallich and her company, The YC. Perfume Genius will release a brand-new artist album in 2020.

Tickets for Tame Impala's 2020 North American tour with Perfume Genius go on sale Friday, Dec. 13, at 10 a.m. local time. For more information and the full tour routing, visit the band's official website.

Here Are The Nominees For Best Alternative Music Album | 2020 GRAMMYs

Over two decades ago, Kurt Cobain famously declared his unapologetic stance — from supporting gay rights to his skepticism about reality — in Nirvana's 1993 GRAMMY-nominated single "All Apologies."

Cobain probed in the opening verse, "What else should I be?/ All apologies," Cobain questioned in the opening verse. "What else could I say?/ Everyone is gay/ What else could I write/ I don't have the right."

In this episode of ReImagined, alternative newcomer Siiickbrain delivers her rendition of the In Utero track, channeling the '90s aesthetic with a vintage camera. Like Cobain, Siiickbrain uses her songwriting to confront and address her mental health.

"[My struggles with mental health] made me want to speak on it within my music, and it kind of gave me a foundation for what I'm doing," Siiickbrain said in an interview with Kerrang! "It gave me a purpose to write about certain things and bring awareness to how common these feelings are."

On March 29, Siiickbrain released "when i fall," featuring Shiloh Dynasty and No Love For The Middle Child, which she describes to Alternative Press as based on "true events that were written and performed as [No Love For The Middle Child and I] were recovering from the challenges of a relationship while simultaneously creating music together." 

Press play on the video above to hear Siiickbrain's cover of Nirvana's "All Apologies," and remember to check back to GRAMMY.com for more new episodes of ReImagined.

Behind The Scenes With Nirvana Photog Charles Peterson

GRAMMY-winning French electro duo Justice have always moved to the tune of their own drum machine.

Gaspard Augé and Xavier de Rosnay's debut release, 2003's "We Are Your Friends," was a radical reimagining of a tune from experimental psych-rock group Simian. Originally a remix made for a Parisian college radio contest, "We Are Your Friends" didn't win, but grabbed the attention of Daft Punk's manager Pedro Winter, who had just founded his impactful indie dance label Ed Banger Records. The track eventually became an anthem of the bloghouse era.

Response to their second single — 2005's glitchy, fuzzy "Waters of Nazareth" — nearly made them reconsider their decision to switch careers from graphic design to electronic music. Two years later, the duo had another major hit — along with their first GRAMMY nominations and some international chart success — with their third single, "D.A.N.C.E.", a joyous bop sung by a youth chorus. 

While their core influences of disco, electro, funk and psych rock remain, Justice is not interested in rehashing the same sounds. They are interested in making you feel, and the sounds that get them the most excited in the studio are the strange and boundary-pushing ones.

They're beloved for their high-production live show, where they mashup and reimagine their biggest tunes into a frenzy of sound and lights. They debuted a new live show at Coachella 2024, which features a dizzying new light contraption created over 18 months by their long-time lightning designer Vincent Lérisson. After each studio album, they produce a live album from the subsequent tour, a costly and time-consuming project which they recently told Billboard nearly bankrupts them every time. Yet their last, 2018's Woman Worldwide, won a GRAMMY award for Best Dance/Electronic Album.

Justice is just as meticulous in the studio. For their first studio album in eight years, Hyperdrama, (out on April 26 on Ed Banger/Because Music), they created hundreds of versions of each track and spent an extra year on the album stitching the best parts together. While they've produced for and remixed plenty of big names over the years, the new album is their first to feature recognizable stars like Tame Impala, Miguel and Thundercat, along with Rimon, Connan Mockasin and the Flints.

GRAMMY.com caught up with Xavier de Rosnay to dive deep into the creation of Hyperdrama, the album's new collabs, Justice's new live show, and more.

This interview has been edited for clarity.

How were your performances at Coachella?

It was good. It was only the second show of the tour. And the beginning of the tool is generally where there's a lot of space for improvement. We could definitely feel that we did better [on weekend 2] than the week before because we were a bit more relaxed, a bit more accustomed to the stage setup and to what we used to conduct the music and everything. Everything felt more fluid. But there can be a difference between what we feel and how the crowd feels, and that's impossible for us to say.

How did you envision this new live show and what are you excited about bringing it around the world?

The way we envision it is as has been the same since the beginning, it's just now we have access to a larger array of technologies to be able to do that. We've always liked the idea of instead of hiding the technical aspects of the stage, enhancing them in every way possible. Everything you see on stage at the beginning [of the show] is stuff that is very mechanical, technical and that are meant to be on stage. As it evolves, everything is moving and lit up.

We hope that there's a lot of moments where the audience can actually get lost [in the moment] and not fully understand what's happening on stage because of the way things are lit. We know the matrix of the stage in and out, but sometimes we see things we don't really understand because it creates a dimensional space that is difficult to comprehend at times. For us, that's the best, it's when we have kind of magic moments.

And musically, same thing, it's always the same as from the beginning but better, freer, bigger. Justice live is Justice's greatest hits; we're not the kind of band that won't play the hits and will force feed the weird [tracks]. For us, it has to be a big party, it has to be fun from top to bottom. Although it's only our fourth album, now we feel we have enough of a catalog to make something that is relentless and fun from the beginning to the end.

I definitely feel a cinematic journey on the new album, is that intentional? And what's the story you're trying to tell with Hyperdrama?

Well, it's intentional in the way that the most powerful music is music that brings images to the mind. Classical pieces of music, like Beethoven's Fifth Symphony, are the biggest hits ever and they have no drums, no beats, no lyrics. But they've been the biggest hits for centuries because they have a very powerful, evocative strength. For us, music is first and foremost meant to reveal this. So we never make music with the idea that it has to be for dancing or pop or anything, we always make music to try to convey powerful emotions. Although we didn't work with a theme like cinematic in our mind, we're happy to hear that some listeners are feeling that way.

The way the album is structured is very classic in the sense that it's structured like a lot of narrative forms. The beginning of the record, let's say the first third, is setting the tone and feeling at home. After our first album, we entertained the idea of starting every album with the theme of "Genesis," a bit like when you go to the cinema and hear the 20th century theme.

You feel good for three, four songs, you go on cruise control and then things start to drift a bit. For [Hyperdrama], that's "Moonlight Rendez-Vous" and "Explorer" — when things start to turn wrong a bit and, and then you go into a sort of vortex, like on "Muscle Memory," "Harpy Dream." In a film, that would be when the goofy sidekick of the protagonist dies. At that moment, you think everything is at its worst, then you have the final drop with "Saturnine" and "The End," which is a bit like the homecoming and happy ending situation — you're back at home again and hopefully you end on a positive note.

Is it kind of a Justice Space Odyssey?

Yeah, totally. I think for as long as we make music, we'll always try to make everything sound a bit like a space odyssey. It's funny that you mentioned space odyssey because [Hyperdrama] has four different sections that are very distinct. That's something that we love too — connecting things that don't really make sense at first glance.

Within some tracks, for example "Incognito," we're going from this almost psychedelic funk intro, and then you have a straight cut and you're in the future, everything is electronic. Things don't really make sense at first, but you listen to it and you get used to [this kind of transition].

And that was something where we really worked on a lot on this album, to make those different universes coexist and sometimes in a not very peaceful way. It can be a bit off-putting at first listen, but that's what's great with the record. You can feel it's a bit strange and you return to it and hopefully you start getting used to these kinds of things until they become almost natural.

The two of us have been working closely for a long time, so getting surprised and sometimes getting a bit unsettled is really what we're looking for in the studio. Generally, when we start to track and we're having a laugh because we are feeling we're going too far, it's something we've haven't done before, or we're making something ridiculous, that's a very good sign. These are typically the things we're looking for when we write a track or produce a song. 

"Incognito" feels very classic Justice, although you've said Travis Scott's "Sicko Mode" kind of inspired its shifts. How did "Incognito" come together and how did it shake up your songwriting process? 

I think the "Sicko Mode" thing is getting a bit bigger than what it is. It was not like we had an epiphany hearing that song. We think it's a great track, but for us, it was more of a reminder that it's always possible in any context to approach things in a very naïve way in a sense, and that it's possible to escape the canon of classical structures and classical writing and still achieve something that is surprising and free and that is legible for a vast amount of people. The principle of juxtaposing things that are foreign next to each other is not new, but to see it on such a big song always gives us a lot of hope about music in general. 

"Incognito," "One Night/All Night," "Generator," "Afterimage" and "Dear Alan" all work a bit on that principle that we had where we recorded several versions of the same track, of the same riff separately. For "Incognito," we had a plan of the song very precisely from the demo. But when we produced it, we recorded the intro and outro, that was one track that we mixed and produced separately. All the electronic parts were another track, all the disco parts in the middle were another. We produced and mixed them separately and only during mastering, we brought them back together. We really wanted to feel like it was separate songs that we'd put together.  

Would you say you are perfectionists? 

No, because there is no such thing as perfection. For us, the best we can do is make something that we feel good about, and this is when we know it's done. It's not perfection because we're not looking to make something that checks all the boxes of what perfection should be. 

Most of the music that we listen to is not perfect to any extent. But for us, it's perfect when it's faithful to the original feeling and idea we had when we started putting those songs together.

I've been really obsessed with "One Night/All Night." What was it like working with Tame Impala's Kevin Parker, and how did you find that mesh between your sounds?

We didn't think of "One Night/All Night" as a song with vocals at first.  We played [the demo] for Kevin and he was like, "I can hear something in that one." His vocal topline really adds some sort of weird sadness and melancholy to the track. The main riff is so simple, I think the simplest we've ever made, the dun dun dun. That's what is great with collaborating, a topline can very much shape a song. We fell in love with that new emotion that he brought to the song.

We really wanted to sound like we had found an unused Kevin Parker song, and sampled it and made a futuristic song with it. So we re-recorded the disco parts; it's almost like the disco part in the middle was the original record and what's before and after is the modernized version of it. And in the intro, his voice is in a key that is a bit off-putting. It builds up slowly and when the first chorus hits, you have his real voice that is instantly recognizable and very powerful and everything comes together — it's a beautiful moment to us.

It was really fun working with him. I mean, it was fun working with everyone [on Hyperdrama]. We almost felt like a mouse in a hole just looking out at things; you get to see everybody's idiosyncrasies and the way they think about music.

Why did you want to make a sonic tribute to Alan Braxe on "Dear Alan"? 

It's more of an inside joke than anything, but in the realm of electronic music, he's been an inspiration for us from the beginning. He's always had this kind of melancholic thing to his music that a lot of other bands from the French Touch first wave don't really have. For us, the French Touch first wave is more like shiny club music that's very euphoric. Alan Braxe was always a bit less dance-y but a bit more melancholic and elegant in a way, and that touches us a lot more than straight dance music. 

We also love his persona. The guy has been releasing maybe one song every three years for the past 20 years. This guy is even less productive than we are. But every time he puts one song out, it's always a gem, it's perfect. I don't think he's ever released one bad track.

The track is based on the sample of "Dear Brian" by Chris Rainbow. Chris Rainbow is a musician from the '70s and '80s that was doing post-Beach Boys music and "Dear Brian" was to Brian Wilson. For a long time, the working name of our track was "Dear Brian" and when we had to give it a proper name, we were like, Okay, the vocal sample reminds us of Alan Braxe, let's call it Dear Alan. It's a way for us to pay tribute to Alan Braxe and also Chris Rainbow.

When you think back to 2007 and "D.A.N.C.E." and having that kind of fast success on a global scale, what memories remain for you from that early era of Justice?

The truth is that it was not fast. There were four years between the moment we started the band and "D.A.N.C.E." and our first album came out. It was four years of doubts and thinking we were doing artistic suicide, for real. All those tracks took a lot of time to actually reach an audience.  

In the meantime, we did our first commercial suicide with "Waters of Nazareth" in 2005. We felt really bad about that track for a couple of months because we had no positive feedback about it. When we would play at festivals, as soon as the song would start, the technical people from the festival would run on stage to see if everything was plugged in correctly. Finally, a year after, it started to reach the underground, people more coming from rock music that felt there was something cool about it. 

Once that was settled, we released "D.A.N.C.E." which was not at all what people wanted us to make, because that was a disco track with a kid singing on it. It took some months, but then it made [an impact]. Then we made "Stress" and had a huge backlash on the video.

Our first album sold a lot of units, but it was over the course of maybe two years. It was really at the end of 2008, beginning of 2009 that it had reached its kind of cruise speed. So, retrospectively, it looks a bit like we came out of nowhere and found a spot for us, but it was made over five, six years; it was a proper development in a way. 

How do you feel you've grown as individuals and as producers since that early Justice era?

 We didn't grow up too much, to be honest. Every time we go back to the studio, we start a bit from zero again, mainly because we try to get rid of old habits every time we start something new. We also change the instruments that we use. The first months of Hyperdrama were really almost like R&D. We were trying to find new ways of making sounds. We didn't produce much music then, we were just trying things and getting accustomed to the new setup. We learn everything as we're making a record and especially on this one. We also wanted to get rid of all habits we have in terms of writing and producing. 

To us, knowledge, a lot of times, can be the enemy of the good. We're trying to find the good balance between, of course, using what we've learned throughout the years to make things that get better hopefully with time and at the same time not to get stuck into patterns that can make you feel old. We're very aware that we're entering a phase of being an old band in a lot of ways. 

We really hope that Hyperdrama does not translate as an old record made by an old band. Hopefully it still sounds fresh and naive and playful, as if it was a record from a young man.

Chromeo On Their New Album 'Adult Contemporary,' Taking Risks And 30 Years Of Friendship

Mastodon's drummer and singer Brann Dailor assures you he did not purchase his shiny golden gramophone at his local shopping mall.

“I won that! I’m telling you. It’s a major award,” he says in the latest episode of Where Do You Keep Your GRAMMY?

The metal musician won his first GRAMMY award for Best Metal Performance for Mastodon's “Sultan’s Curse” at the 2018 GRAMMYs.

“‘Sultan’s Curse’ was the jumping-off point for the whole theme of the album,” he explains. “The protagonist is walking alone in the desert, and the elements have been cursed by a Sultan.”

It’s a metaphor for illness — during the creation of the album, the band’s guitarist Bill Kelliher’s mother had been diagnosed with a brain tumor and bassist Troy Sanders’s wife was battling breast cancer.

For the band, the GRAMMY award represented their version of the American Dream and culmination of their career work. Even if Mastodon didn’t win the award, Dailor was happy to be in the room: “We felt like we weren't supposed to be there in the first place! But it's an incredible moment when they actually read your name."

Press play on the video above to learn the complete story behind Brann Dailor's award for Best Metal Performance, and check back to GRAMMY.com for more new episodes of Where Do You Keep Your GRAMMY?

Brann Dailor Talks 20 Years Of Mastodon, New 'Medium Rarities' Collection And How He Spent The Coronavirus Lockdown Drawing Clowns

In April 1993, journalist Stuart Maconie coined the term Britpop for a Select magazine article celebrating the UK's fight back against the dominance of American rock. Remarkably, London four-piece Blur weren't even mentioned in the story. And yet, frontman Damon Albarn, guitarist Graham Coxon, bassist Alex James, and drummer Dave Rowntree would provide the catalyst for the scene's mainstream breakthrough.

Just a year later, Blur released what many consider to be Britpop's defining statement. Parklife served as a colorful, vibrant, and incredibly infectious love letter to all things Anglocentric, drawing upon the nation's great cultural heritage while also foreshadowing what was to come. And it instantly struck a chord with homegrown audiences desperate for guitar music that wasn't drowning in abject misery, and better reflected their day-to-day lives.

Remarkably, Albarn had predicted Parklife's success four years earlier. As he declared to music writer David Cavanagh in 1990, "When our third album comes out, our place as the quintessential English band of the '90s will be assured. That is a simple statement of fact."

Three decades after its game-changing release, here's a look at how Parklife forever changed both Blur's career trajectory and the history of British rock.

It Kickstarted Britpop's Greatest Rivalry

In one of those great rock coincidences, Blur's third LP hit the shelves just 24 hours after "Supersonic" gave a then-relative unknown Manchester outfit named Oasis their first ever UK Top 40 single. And the two bands would remain intertwined (perhaps begrudgingly so) from then on, culminating in the most high-profile chart battle in British music history.

You could argue that Oasis' Noel Gallagher threw the first stone, describing Parklife as "Southern England personified" in a manner that suggested it wasn't exactly complimentary. And according to his manager Alan McGee, Definitely Maybe cut "Digsy's Dinner" was written as a deliberate "piss-take of Blur."

An increasingly bitter war of words then broke out in the summer of 1995 as the "Country House" versus "Roll With It" war swept the nation. Blur emerged victorious, although Oasis had the last laugh when (What's The Story) Morning Glory spent 10 weeks atop the UK album chart.

It Brought Storytelling Back To Indie Pop

Heavily inspired by Martin Amis novel London Fields, Parklife was inhabited by a cast of intriguing fictional characters, essentially doubling up as a series of short stories. "Tracy Jacks," for example, is about a golf-obsessed civil servant who ends up getting arrested for public indecency before bulldozing his own house.

"Magic America" is the tale of Bill Barret, a Brit who commits to a life of excess during a Stateside holiday ("Took a cab to the shopping malls/ Bought and ate until he could do neither anymore"), while "Clover Over Dover" explores the mindset of a manipulative boyfriend threatening to jumping off the titular white cliffs.

Over the following 18 months, everything from Pulp's "Common People" and Space's "Neighbourhood" to Supergrass' "Caught by the Fuzz" and The Boo Radleys' "It's Lulu" were combining classic British guitar pop with witty Mike Leigh-esque vignettes of modern life.

It Originated The Big Indie Ballad

Dramatic ballads aren't necessarily the first thing that come to mind with Parklife, a record famed for its jaunty, "knees-up Mother Brown" ditties. But it boasts two examples: "To The End," an alternate Bond theme featuring a burst of Gallic flair from Stereolab's Laetitia Sadler, and the swoonsome "This Is A Low." Turns out the "mystical lager-eater" the record was designed to embody could also get a little vulnerable from time to time.

This appeared to give all of their laddish peers some pause for thought. Oasis, the most fervent advocates of the "cigarettes and alcohol" lifestyle, later scored their biggest hit with acoustic ballad "Wonderwall." And bands including Cast ("Walkaway"), Shed Seven ("Chasing Rainbows") and Menswear ("Being Brave") all enjoyed UK hits revealing their softer sides. No doubt Coldplay, Travis, and every other sensitive post-Britpop outfit that emerged in the late 1990s were taking notes, too.

It Paid Respect To The Greats

The Britpop scene was renowned for its slavish devotion to the first time British guitar bands ruled the airwaves, the Swinging Sixties. Oasis freely admitted they modeled themselves on the Beatles, while the likes of Ocean Colour Scene, Kula Shaker and The Paul Weller all released albums that sounded like they'd been discovered in a vintage record shop.

And while Blur would later distance themselves from the past with a sense of invention (which Albarn would also parlay into his various side projects, including the virtual band Gorillaz), they were more than happy to get all nostalgic on Parklife. See "Far Out," their only track to feature James on lead vocal, which resembled the trippy psychedelia of Pink Floyd in their Syd Barrett era, and the Sgt. Pepper-esque brassy instrumental "The Debt Collector," while there are also echoes of the Walker Brothers, The Kinks, and Small Faces. Suddenly, retro was the new cool.

It Turned Blur Into Britain's Biggest Guitar Band

The UK Top 10 success of 1991's "There's No Other Way" proved to be something of a false start for Blur, with the band soon falling by the wayside like every other baggy pop outfit that emerged at the turn of the decade. "Popscene," the 1992 single intended to revolutionize both their career and British guitar music in general, stalled at No. 32, while 1993 sophomore Modern Life is Rubbish sold just 40,000 copies.

But Parklife single-handedly turned Blur into Britain's biggest guitar band, reaching No. 1 in their homeland, spending 82 weeks in the Top 40, and eventually becoming a million-seller. It went on to pick up four BRITs, a Mercury Prize nomination, and has been recognized as an all-time great by Spin, Pitchfork, and Rolling Stone. Further proof of its glowing reputation came in 2009 when Royal Mail selected it as one of 10 albums worthy of commemorating on a postage stamp.

It Spawned A String Of Classic Singles

Parklife's campaign was kicked off in March 1994 with "Girls and Boys," a glorious dissection of British vacationers — which, surprisingly in the days when genre-hopping was frowned upon — evoked the '80s synth-pop of Duran Duran and Pet Shop Boys. Rowntree was even replaced by a drum machine, not that he particularly minded, luckily.

This indie floorfiller was followed up by the hugely underrated "To The End" and then the much-quoted title track. Everything about "Parklife" the song is larger than life: the Cockney geezer narration from Quadrophenia's Phil Daniels, the festival-friendly sing-along chorus, and the brightly colored video in which James — perhaps tipping his hat to Queen's "I Want to Break Free" -– donned soap opera drag. But fourth release "End of a Century," a melancholic tale of domestic drudgery complete with mournful trombone solo, once again proved there was a depth beyond their cheeky chappy personas.

It Made Brits Proud To Be British Again

Unable to connect with the oppressive angst and flannel shirts of the grunge movement that had plagued their first major North American tour in 1992, Blur first started to embrace their inherent Englishness on the following year's Modern Life is Rubbish. Unfortunately, this throwback to the original British Invasion was met with a resounding shrug of the shoulders on both sides of the Atlantic.

Undeterred, however, the band doubled down on all things Anglocentric on its follow-up, from its original title of London, to its greyhound racing cover art, to its celebrations of bank holidays, Club 18-30 holidays, and shipping forecasts. This time around, they managed to capture the zeitgeist (at home, at least), as the rise of New Labour and the forthcoming hosting of Euro '96 made everyone proud to be British again. Within 12 months, the UK charts were littered with homegrown guitar bands selling the idea of the English dream — and it all started with Parklife.

Coachella 2024 Weekend 1 Recap: 20 Surprises And Special Moments, From Billie Eilish & Lana Del Rey To Olivia Rodrigo With No Doubt