Over five years after 2019’s “The Slow Rush,” Tame Impala released his long-awaited fifth album, “Deadbeat,” on Friday. Multi-instrumentalist Kevin Parker uses “Deadbeat” as a chance to elaborate on familiar themes in Tame Impala’s discography, but this time, he uses a new, house-influenced sound vastly different from the psych-pop melodies fans are used to hearing.
True to its title, “Deadbeat” finds Parker accepting his flaws rather than trying to present himself as sociable or outgoing. It puts listeners into the mindset of an introvert and chronic overthinker, but instead of using psychedelic guitars and synthesizer solos like his 2012 album “Lonerism,” Parker uses four-on-the-floor dance beats and house synths as a vehicle for listeners to dance along to his melancholic inner monologue.
At some points, the house style works. At others, the beats become boring, making it easy to lose interest in Tame Impala’s vulnerable lyrics.
The album begins with “My Old Ways,” which features Parker’s angelic falsetto over a piano melody that eventually turns into a laid-back dance beat once the percussion comes in.
We hear more of these raw and intimate piano moments at the end of songs like “No Reply” and “Piece of Heaven.” Between bouncing house beats and groovy synthesizers, these brief moments transport the listener into what feels like a small, echoey room where Parker is playing the piano alone.
These moments emphasize the album’s core message: Behind the mask of a commercially successful festival headliner is an introvert trying to make sense of his lifestyle. “Was I impolite? Was that joke alright? I just want to seem like a normal guy,” Parker sings on “No Reply.”
On “Dracula,” he channels his inner pop star on what is arguably the most fun and groovy track on the album, despite its corny lyrics. Everything from the melodic verses to the infectiously catchy chorus makes the song a standout track on the project.
“Loser” continues the album’s self-deprecating theme. This track strays away from the “Deadbeat” dance sound and returns to an alternative rock feel, making use of a live drumset and a plucky, electric guitar riff complemented by an acoustic guitar. It’s a bit repetitive, but it’s a catchy tune nonetheless.
After the fourth track, however, the house production starts sounding lackluster. That’s not to say it isn’t well-produced on a technical level, but for a mastermind musician like Parker, the beats for tracks like “Oblivion,” “Afterthought” and the eight-minute-long “Ethereal Connection” sound generic and uninspired. Even Parker’s distinct vocals aren’t enough to distract from the repetitiveness of the instrumentals.
If an up-and-coming DJ released these tracks, they wouldn’t be bad. But this is Tame Impala — the musical project that revived psychedelic rock and pop for a new generation. Even with nice vocal melodies and sharp mixing, it’s hard to hear a pop-rock innovator release songs that sound like H&M fitting room music.
“Piece of Heaven” begins with a beautiful production of swelling synths layered with staccato strings and bells. But once the drums come in for the chorus, the song sounds overproduced. Something about the percussion is just corny, like the drums you’d hear on a satire pop song from The Lonely Island.
As a whole, “Deadbeat” is by no means a bad project. Artists can and should switch up their style throughout their careers. But it seems in this case, Parker left behind many of the qualities that made fans fall in love with his music. Though his unmistakable voice, rich synthesizers and groovy melodies still shine through, it’s going to take more for his talent to become influential in a genre as oversaturated as house music.
With that being said, there are plenty of shimmering moments on this album, and it will be exciting to see whether Tame Impala continues with a house-influenced dance style in the future. Given his undeniable talent and creativity, this stylistic shift still has the potential to work out in the future, so long as he finds a way to leave his mark on electronic music in the same way he once did on psychedelic rock.
With “Deadbeat,” he’s halfway there.
Email: [email protected]
Related Stories:
— Liner Notes: In ‘Virgin,’ Lorde is raw and honest, but fully herself
— A sound purchase: Students partake in the emerging hobby of collecting vinyls
