Tame Impala Attempts to Reinvent Himself with New Album ‘Deadbeat’
Written by Eve Elliot
With a few lingering remnants of his classic psychedelic-pop style and a shift into EDM, Tame Impala’s fifth studio album, Deadbeat, makes one thing clear: Kevin Parker wants you to dance.
But you wouldn’t know it from the first minute of the album. “My Old Ways” starts off with a demo version of the song, stripped down to just piano and Parker’s vocals. When the beat finally kicks in, it’s clear we’re in for a treat. Although it leans more toward dance music than what we’re used to hearing from Parker, “My Old Ways” still fittingly shares many resemblances to the lyrically self-critical, indie grooves that we expect to hear on a Tame Impala record. Like Parker sings on the track, kicking the album off with “My Old Ways” does feel like “A little present for holding out so long”.
The good vibes continue on songs like “Dracula” and “Loser”, both of which were released as singles despite their sonic separation from the majority of the album. These two are certified indie-pop hits, with “Dracula” a guaranteed crowd-pleaser on many Halloween playlists this fall and “Loser” making a big splash after its initial release. The tone for this pair of songs is light and playful despite Parker’s stated desire to remain in the darkness and dwell upon his own faults (check out this review of “Loser” for a more in-depth look at the track). Both songs have their own unique groove and are equally danceable, but stray from the incessant four-on-the-floor pounding of tracks to come.
“Ethereal Connection” and “End of Summer” show off Parker’s first excursions into EDM. Although I respect Parker’s willingness to branch out into different genres and expand his musical breadth, these songs fall a bit flat. They sound more like a first attempt than a finished product. Where Parker’s music usually pushes sonic boundaries and redefines genre, these songs are boring in their familiarity. It’s as if he’s trying to master the basic form before introducing his own unique style and flavor. And while that’s a noble and necessary effort, the songs feel out of place on this record, dragging down an artist who is known for his ingenuity.
That being said, Deadbeat still has its selection of songs that expertly highlight Parker’s originality. “Piece of Heaven” sounds like a modern take on a long-lost 80s-prom slow jam. It drips with sweetness and sentimentality, as Parker sings about finding peace and belonging in a lover’s bedroom. The one-off sound of “See You On Monday (You’re Lost)” is intriguing in its minimalist style and repetitive phrasing.
Deadbeat may not be the album that Tame Impala fans expected, but it’s a good reminder that Parker is an artist determined to break out of his comfort zone. Despite a few missteps and a shaky start in a new direction, the album is engaging in its sonic variety and introspective lyricism. It’s the kind of record that grows on you over time until you catch yourself mindlessly humming the riffs and doing your best Kevin Parker falsetto. It’s hard to say exactly where Parker will go next, but Deadbeat guarantees that we should expect the unexpected.
