“Deadbeat” is a proper name for Tame Impala’s new album. While his classic psychedelic influences remain present, Kevin Parker, better known as Tame Impala, introduces dance-like “beats” to his new take on his sound. “Deadbeat” will surely appeal to the alternative musician’s diehard fans, but the alternative icon’s new sound has the potential to discourage fans of his older style, and despite its best efforts it struggles to be more than just okay at best.
The album’s opening track, “My Old Ways,” serves as a kind of thesis statement for the album. Beginning with piano and ambient vocals, the song soon introduces the album’s signature dance-like beat. This pattern continues into the next song, “No Reply.”
The third song, however, features a complete tone change in a song fit for Halloween: “Dracula.” This is followed by yet another tone change in what is arguably the album’s best moment. “Loser” takes the listener back to Parker’s early years with its simple-yet-effective guitar riff and electronic backing, creating a memorable track.
Unfortunately, the album quickly shifts from its high point to its lowest in “Oblivion,” a song that stays musically idle throughout its four and a half minute runtime. The beat and background synths rarely change, and its quiet and ambient vocals stay relatively the same throughout the song. Luckily, the following song, “Not My World,” does what “Oblivion” tried to do, in a more musically moving style that feels like it tries to go somewhere.
”Piece of Heaven” is another change in tone that is slight yet noticeable. With its almost string-like synths and present vocals, “Piece of Heaven” brings some life to the album after its previous two empty tracks. This focus on vocals continues into “Obsolete,” however, the synths trade the spotlight with a funky bassline that offers a new take on the album’s club aesthetic.
The album continues into another abstract track in Ethereal Connection, but follows that with the strange yet appealing “See You on Monday (You’re Lost).” With its carefree bassline that wants to be happy and sentimental but feels undecided between the two, “See You on Monday” is simple, yet one of the better tracks on the album. The subsequent track “Afterthought” is a beat that feels bland at first but grows a little by the end.
The album all comes to an end with ”End of Summer,” a journey to the album, combining multiple takes on a musical motif throughout its seven minute runtime or nine minute music video, almost in the style of “Let it Happen.” Almost, but not quite.
“Almost, but not quite” is a proper description for Tame Impala’s new album. It tries to innovate, but in the end, I felt kind of empty after listening to the album. It didn’t take me anywhere: the music was kind of just there, and struggled to be more than just okay. Kevin Parker’s diehard fans, of course, will find something to like in this album, but to newcomers, this is not the place to start. One looking to get into the artist’s music should start with his older masterpieces, particularly “Lonerism” and “Currents.” One thing is certain though: despite the album’s less than desirable performance, Tame Impala’s fanbase is certainly not “dead.”