After five long years between album releases, Kevin Parker, the brains and primary artist behind Tame Impala, has finally given fans a new record to spin. During that break, we’ve gotten new music sprinkled in between: features on other artists’ records, movie tie-in songs, and even his executive production work on Dua Lipa’s 2024 album Radical Optimism. But with the introduction of Tame Impala’s new album, Deadbeat, we’re given sonic themes in the artist’s catalog that we’ve never quite heard before.
In 2012, Kevin Parker released Lonerism, an album about feeling lost in a crowded room and dealing with the fears of self-isolation, all wrapped in an upbeat indie rock soundscape. 2015 brought the release of fan-favorite Currents, a psychedelic, synth-driven epic about experiencing a breakup and learning to move on with your life. Next, in 2020, came The Slow Rush. Finally, Kevin Parker sounded happy and content, living in the euphoria of new love and applying the life lessons he’d learned along the way, all while confronting old demons and leaning further into pop music.
What I’m trying to explain is that each installment in Tame Impala’s discography represents a new headspace, and Kevin Parker uses each album as a personal diary. The long breaks between records bring new ideas and often new sonic directions, and Deadbeat is no exception. This time, the euphoria and joy that Kevin had been exploring are being tested, and we see the artist slipping back into his old ways.
Listening to the new record, you can hear themes and lyrics of self-deprecation and a subtle slide toward debauchery. All of this is set against the backdrop of a high-energy dance-pop record filled with arpeggios and rhythmic drum beats. Each track features some form of meek, self-aware songwriting that feels relatable to the aging fans who’ve grown alongside him. The singles “Dracula” and “Loser” are prime examples. Both went viral on social media and feature grooves that make your shoulders move, but once you pay attention to the lyrics, you start to feel a darkness beneath the surface. The inclusion of his daughter being the focus on the album cover and the title of the record, “Deadbeat”, really leans into this concept, and it gives the audience a look into where this guilt and desire to be better come from.
I’ve really been enjoying the dichotomy of these concepts, and I think the new record has proved to be quite satisfying. Many purist fans will disagree with me on that, and Deadbeat has definitely sparked a divisive reception. Similar to what happens with a new Mac DeMarco album, the latest Tame Impala release has been met with outcry from fans who want Kevin to make something identical to his earlier work. But I think my earlier points explain why that wouldn’t make sense. Parker’s songwriting and sonic vision evolve with each project, and recycling old themes would only dilute what makes his art special.
That said, I don’t think Deadbeat is another flawless masterpiece. A few tracks sit a little too comfortably in the pop sphere Tame Impala has been orbiting since contributing to the Barbie, Elvis, and Minions soundtracks. Songs like “Oblivion” and “See You on Monday (You’re Lost)” sound pretty generic to me and take me out of the immersion. The drum beats and melodies, “Oblivion” especially, feel dated and don’t live up to the innovative soundscapes found in some of the better tracks.
But on the other side of that coin, there are some really cool club-inspired moments throughout Deadbeat. For example, “End of Summer,” “Ethereal Connection,” “Not My World,” and “No Reply” all follow that pattern and, for me, highlight some of the most exciting sounds Kevin has produced in years. Each of these tracks is fast-paced and captivating, providing the kind of soundtrack fans like me crave during those long gaps between releases.
Overall, Deadbeat is a great new addition to Tame Impala’s discography. It’s replayable, infectious, and perfect for social settings, especially “Dracula,” which dropped just in time for Halloween. The bad part about being a Tame Impala fan, though, is knowing there’s a very real chance we’ll be waiting another five years for the next one. Until then, we’ll see how long I can stretch some of the tracks in this project.
I recommend Deadbeat for fans of dance-pop, Brat by Charli XCX, and longtime Tame Impala supporters.
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