Tame Impala’s “Deadbeat”: A Staggering Miscalculation
“Normally, I wouldn’t be too critical of Parker's lyricism since it’s not his strongest suit, but when the production is this dull, weak writing becomes much harder to overlook.”
I still remember the first time I heard Tame Impala’s “The Less I Know The Better.” I was laying on my bed, headphones in, completely captivated by one of the best basslines ever created, enhanced by the smooth use of reverb layered on. It was the song that made me fall in love with psychedelic rock. This track blends a vintage sound with a futuristic feeling, making it feel as if you're cruising through the 90s with rose-colored glasses and soaring into the future on a hoverboard, red slushie in hand, blasting this song at full volume.
That timelessness and nostalgia is what drew me to Tame Impala, so, when I saw that Parker, one of my favorite artists, was releasing a new album titled Deadbeat, I couldn’t wait to see where he’d take that sound next. However after a few listens, I wasn’t drawn in —not necessarily because Parker’s lost his touch, but instead because of the fact that, compared to his previous albums like “Currents” or “Lonerism,” I find his craft less compelling in its themes of isolation, self-doubt, and the challenges of adulthood, which clashes with the groovy yet drab production. In this review, I want to explore why this album fails to resonate with me the same way Parker’s previous releases did, and how Deadbeat falls short in conveying its central theme.
Tame Impala is best known for their psychedelic rock sound, shown through the atmosphere of tons of timeless tracks like “Let It Happen”, “Feels Like We Only Go Backwards”, “Borderline,” and, of course, “The Less I Know The Better”. So when the opening track “My Old Ways” began to play, I was immediately thrown off by the shifts in genre. In the beginning, it starts with a slightly reverb lo-fi piano, leading me to believe that it would be a piano ballad, but before that thought settles, a club style bass drops in and completely changes the mood. Suddenly, the song feels groovy and more Tame Impala, with the keyboard and psychedelic flute. It's a strong opener that captures the feeling of falling back into destructive habits, despite desiring to improve, disguised as a danceable track.
The second track “No Reply” continues the album’s groovy energy until its second half, where it returns to that same simple yet beautiful piano from the opening track, only this time it feels more magical and ethereal. The song seems to explore the struggle to communicate as Parker explains that he “[g]et[s] these butterflies man, [and] they make [him] tired,” expressing how difficult it is to share his inner thoughts and feelings. The vocals are solid too. That said, I have two major problems with this track, and that is the production and the song writing. While the production maintains a groovy tone, it feels a little too similar to the latter half of the first song, just a little more drab. The song writing doesn’t quite make up for it either, the line “[y]ou’re a cinephile, I watch Family Guy” sounds more like a joke line than a final lyric. Normally, I wouldn’t be too critical of Parker's lyricism since it’s not his strongest suit, but when the production is this dull, weak writing becomes much harder to overlook.
The next song, “Dracula,” is the huge single from this tracklist and the song definitely deserves the popularity it has right now. This song uses the Dracula metaphor as a way to convey that he wants to avoid the daylight of responsibility and vulnerability. It captures the feeling of a party that must end as soon as the sun comes up, with the repetition of the lyrics urging to “run from the sun like Dracula” which naturally is perfect for the Halloween holiday and it stands alone aside from that. This song features an arrangement of instruments consisting of the bass, guitar, piano, drums, and of course the beautiful synthesizers. This is the best song from the tracklist up to this point.
The fourth song features strong synthesizers, but overall, the track “Losers” feels rather straightforward. Once again, Parker emphasizes that he is a loser like he does on other tracks, but this one isn’t as replayable as songs like “Borderline”. It’s not a huge problem to have a song repeat the same themes, especially if the tracks vary musically across albums. However, since this song is heavily reverb-coated, there isn’t much to latch onto. The focus ends up being on the song-writing itself, which can get pretty tiring after a while. The last line, which includes unnecessary swearing, also feels out of place.
The next track that stands out to me is the fifth song, “Oblivion.” The beat is similar to the previous songs, with the chorus repeating the phrase “I would” nineteen times alongside soft vocals. The song gradually quiets down between 3:03 and 3:23, forming a weak and underdeveloped bridge. The lyrics describe a sense of unreachable loss, contrasted with the painful realization that the connection is fading. Parker wants to “fade into oblivion” rather than live without that bond. It’s a profound message, but it doesn’t land as well as it could because the repetitive chorus dominates the mix, leaving little to hold onto. The lack of replayability and the song's mediocrity undercuts the weight of the message. Definitely the worst song.
In the sixth track, “Not My World,” Parker sounds distant from the microphone, which creates a pleasant change of pace from the previous track. The reverb remains, but it’s less grating and the beat is stronger. Around the halfway mark, there’s an extended instrumental section that carries an EDM-inspired drop. It's euphoric and definitely one of the album's highlights, with its strong blend of synths, bass and drums. Parker explores his longing for a more “normal” life outside the spotlight. He sounds overworked and torn between fame and family, a push and pull that defines much of the album. This theme comes across more efficiently here than in songs like “Oblivion” or “Losers”.
The seventh track, “Piece Of Heaven”, opens with simple synths that let Parker’s vocals shine while an atmospheric EDM section builds up. It’s a decent track, but it doesn’t stand out much and lacks the energy of the previous song’s drop. Later, we hear the same lo-fi piano used in the opening track “My Old Ways” connecting this song to the latter half of “No Replay”. Unfortunately, this final song feels too simple and unmemorable, and I don’t see myself returning to it often.
The eight track, “Obsolete” evokes the warmth of summer and stands out as the most upbeat song since “Dracula”. Parker expresses fear of no longer being wanted, asking “Do you want my love? Is it obsolete?” His delivery feels natural and unforced, as if he’s yearning for honesty from his partner. This track features a deep-house inspired drum machine rhythm and Parker’s smooth vocals elevate it further. It’s easily his best vocal performance on the project so far.
The ninth track “Ethereal Connection” immediately draws attention with its glitchy electronic effects, low-toned bass and fast-paced drum loop. It’s the longest song on the album with an intro that stretches nearly three minutes but unfortunately, the extended length works against it. The repetitive beat and drawn-out instrumental section make it feel flat and uninspired. While Parker’s vocals sound good, the track fails to deliver the “ethereal connection” it promises. The lyrics describe a magical bond between two people that transcends words, yet the emotion never comes through. The production feels too stiff to capture that magic, leaving the seven minute runtime feeling unnecessary.
As the album nears its conclusion, the tenth track, “See You On Monday (You’re Lost),” begins with recycled melodies and underwhelming production. The subpar vocal delivery and generic sound make for one of the weakest openings on the record. The chorus doesn’t even feel like a true hook and it’s disappointingly bland. The repeated refrain “You’re Lost” lacks impact and Parker's vocal performance feels detached, as if he's struggling to express the connection he wants. The song's concept of relationship disconnection had potential, but the uninspired production fails to bring it to life. Parker has proven he can do far better, and this track feels like a step backward compared to his earlier work.
The eleventh track redeems some of that energy with a vibe, danceable groove. The disco-house inspired melody, driven by a four-on-the-floor beat and lush synths makes it instantly catchy. It’s easy to imagine this track playing in a club thanks to its replayable rhythm and production. Parker explores the pain of being an overlooked partner in a fading relationship with his plea, “What do I say to turn this around?”. The contrast between the upbeat instrumental and the melancholic, regretful lyrics gives this song emotional depth, making it one of the stronger tracks on the record, and bringing the album’s weakened theme back into focus.
The closing track, “End Of Summer” is the album’s second longest song but manages its runtime far better than “Ethereal Connection”. The production with its layered electronic and dance-oriented sounds keeps listeners, like me, engaged despite the repetitive house beat. The bright vocal melodies and nostalgic tone, scratches the right side of my brain because the track feels like the embodiment of an indie song I love. The high-pitched vocals around the middle could easily be overbearing, but they surprisingly complement the track's dreamy vibe. The final beat drop isn’t groundbreaking but it's a decent closure reflecting on the ending of a relationship.
In the end, Deadbeat fails in its central theme because the project feels more like an uneven experiment rather than a defiant album. The album's themes of isolation, self-doubt and challenges of adulthood gets muffled by its inconsistent song writing and lackluster production that prevents it from reaching the cultural impact and cohesion of Parker's best work. Rather than delivering the transportive, unforgettable feeling that first drew me to Tame Impala with tracks like “The Less I Know The Better”, this album instead feels undercooked and dull offering little to enjoy or return to.
Overall it's such a disappointing release and, compared to his previous projects, easily Parker’s weakest showing yet. I'd give it a 5.1/10.
