Tame Impala swaps psychedelic beats for club sounds in unrecognizable ‘Deadbeat’
Tame Impala’s new album embraces experimentation. The album takes a risk with a stripped-down club vibe, contrasting with Tame Impala’s earlier psychedelic sound. Kendall Thompson | Contributing Illustrator
Get the latest Syracuse news delivered right to your inbox.
Subscribe to our newsletter here.
For most artists, success is a reason to stay the course. For Kevin Parker and his musical project, Tame Impala, it’s a reason to start over. The project’s frontman has constantly evolved throughout his discography, but his newest album, “Deadbeat,” may be his biggest jump.
In an interview with Apple Music, the Australian-born artist said experimentation validates his passion. Though Parker has worked alongside some of the biggest names in the industry, like The Weeknd, Dua Lipa and Kanye West, he remains uninterested in the business side of music.
Parker’s fifth album delivers 12 tracks totaling 56 minutes, unrecognizable from his other works. “Deadbeat” remains a testament to Parker’s creativity, but trades his signature psychedelic sound for a stripped-down club vibe.
Before the release, Parker teased fans with three singles; “Dracula,” “Loser” and the album’s closing track, “End Of Summer.” Each single is accompanied by a music video that captures the record’s restless bounce.
The new sound is evident on the LP’s opening track, “My Old Ways,” where Parker quietly sings alongside hushed drums before the song explodes around one minute in. Singing about relapse — whether it be drugs themselves or a previous habit — Parker is desperately trying to find someone to blame other than himself.
“Temptation, feels like it never ends / I’m sliding, powerless as I descend,” he sings.
Parker seems to think this future is inevitable, frustrated at his inability to prevent it. It sets the core tone of the album — driving percussion layered with themes of isolation and disconnect. The steady “boots and cats” rhythm is the work’s lifeblood, grounding most of the eccentric production.
“No Reply” shifts more toward problems of communication, while continuing the energetic instrumental. Parker’s constant second guessing contradicts his goal of just being a normal guy who enjoys going out with friends. Instead, he struggles to satisfy his companions’ expectations.
The closest we get to a previous Impala sound is on “Dracula,” which weaves synths and percussion throughout. The song will certainly be a Halloween anthem with its lyrics and music video representing a feeling of escapism and the intention of partying long past sunrise.
“Loser” may be the most distinctive track on the album, mostly due to its complicated and driving riff. While it isn’t as layered as previous works, it feels completely Impala: hypnotic and technical. Parker explains his constant desire for connection, but struggles to find it.
“I cannot lie, I feel defeated / Take it as a sign, you’re badly needed,” Parker sings.
Mid-album tracks like “Oblivion” and “Not My World” represent a bit of a lull where production and lyricism remain secondary to the vocal inflections and fast rhythm. The two songs lean deeper into the club sound, emphasizing themes of detachment.
“Piece Of Heaven” is a simple yet emotional look into Parker’s long-awaited chemistry. It’s a period of time where Parker is simply happy, experiencing the moment to its fullest.
“Now there is a whole world / Going on out there / Whatever I’m missing out on / In here, I don’t care.”
The title itself is symbolic of Parker’s aspirations, and a euphoric moment when everything comes together. Not only is it a climax of the previous themes on the album, but it’s a change in Parker’s personal approach to love. Instead of desperately searching for love and ways to achieve it, he questions if it’s worth the struggle.
“Obsolete” bounces back to the same groove heard on “Loser.” The sense of longing turns to frustration, and the dreamy connection described turns obsolete.
“Ethereal Connection” embodies the album’s identity. It’s entirely EDM with tension-building drops and an upbeat tempo. It maintains a sense of psychedelia while also getting people moving.
The following track, “See You On Monday (You’re Lost),” is a more introspective view of Parker. The lyrics are at the heart of the song, which describe Parker’s struggle to remain flowing.
“Somewhat steady, but please don’t call me that,” Parker sings, referencing both his relationships and life.
“Afterthought” injects a burst of funk, blending both techno production and echoey vocals for a new sound before the album closes with “End Of Summer.” It’s upbeat yet reflective, cycling back toward many of the record’s core themes.
“Love doesn’t cast a shadow / Fun doesn’t make you shallow,” he sings, advocating for a relationship filled with happiness and connection.
“Deadbeat” is a risk and will certainly split listeners. Longtime fans might miss the dense and psychedelic sound of “Currents” or “Lonerism,” but Parker’s evolution is entirely intentional.
While “Deadbeat” isn’t the Tame Impala record fans expected or desired, it reaffirms Parker’s goal of change. Even at the cost of disappointment, Parker reinvents himself once more.
