About

Kevin Parker, the force behind Tame Impala, has long walked the tightrope between dreamy psych rock, pop ambition, and introspective songwriting, refining a sound that feels both cosmic and deeply personal. After a five year gap since The Slow Rush, Deadbeat arrives as perhaps his boldest bet yet – an album that leans heavily into dance and electronic textures.

From the opening bars of "My Old Ways" we start the journey with a simple, rolling piano motif that meets a kick-drum pulse, as Kevin confesses to returning habits, familiar cycles. "No Reply" tightens the tempo with a clipped, ambient house soundscape. It’s more mood than hook, the kind of song that asks you to focus more on the subtleties within the percussion of the track. By the time we hit "Dracula", the album’s ambition becomes a little clearer – this is a slicker, tighter number, pulsing with disco dance influence. It’s dark, sensual and a little playful in its gothic overtones.

"Loser" follows with a dusty funk undercurrent. Kevin’s falsetto floats above an insistent groove, winding between self-critique and an ironic kind of shrug. "Oblivion" and "Not My World" bring us slow-burn synth layers, reverb-heavy guitars and Kevin’s trademark doubled vocals. "Oblivion" leans into extended grooves and hypnotic repetition whereas "Not My World" is more haunted, reflective and minimal in its early moments before building towards a kind of glowing release. "Piece Of Heaven" is a mood booster with lush synth strings, electro-funk melodies and lyrics that waver between confession and demand. There’s undertones to this track that sound as though Kevin has sampled Enya’s "Orinoco Flow". "Obsolete" and "Ethereal Connection" push further into mood and texture – again, less about hooks and more about creating weight and atmosphere. The seven minute "Ethereal Connection" is the album’s most immersive trip and, in my opinion, a gorgeously stretched piece that trades chorus for enchanting and hypnotic sound design.

Onto the final stretch, "See You On Monday (You’re Lost)", "Afterthought" and "End Of Summer" give Deadbeat its closing arc. "See You On Monday (You’re Lost)" drops in with plaintive intimacy and Afterthought gently rattles with melancholy, looping phrases that feel like someone circling again and again over the same memory. "End Of Summer" closes things out in an acid house, expansive drift, like a sunset DJ set – long, slow and again, a little melancholic.

Overall, Deadbeat is an intriguing pivot from Tame Impala’s previous discography. The production craft is still immaculate and yields some genuinely lovely passages, however, if you loved the psychedelic sweep of earlier Tame Impala, expect something more restrained and club leaning here with Deadbeat. — (via Renowned For Sound)

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Kevin Parker has spent more than a decade rewriting what Tame Impala means. Every album has felt like a different version of him—Innerspeaker with its wide-eyed psychedelia, Lonerism chasing connection from a distance, and Currents turning heartbreak into something glossy and universal. Even The Slow Rush felt like a reflection on that chase, all motion and nostalgia packed into one long breath. Deadbeat, his fifth album and first under Columbia Records, doesn’t look back with the same sense of wonder. It seems around instead.

With an opener like “My Old Ways,” expectations are uncertain. It’s raw and unpolished. In the first verse, Kevin Parker sounds like he’s letting us hear a demo—His voice cracks; the piano is uneven, as though we’re present for the song’s build-up. But when the chorus hits, everything clicks. This new sound isn’t accidental. Parker drops the gloss and lets the imperfections do the talking.

By the end of Deadbeat, it’s clear Parker isn’t trying to chase a legacy. He’s just chasing what feels real right now. The record isn’t heavy or existential like his past work—It’s lighter, fun, and a little unpredictable. You can tell he’s having a good time switching gears, testing what still fits and what doesn’t. I’ve always admired that about him-the way he’s willing to turn his own discography on its head and still land on something that feels true to where he’s at. Deadbeat doesn’t sound like an artist reinventing himself; it sounds like someone remembering how to enjoy it. — (via New Noise)

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Label: Columbia
Format: 2 x Vinyl, LP, Album, Stereo
Released: 2025
Genre: Electronic, Pop
Style: House, Dance-pop, Tech House, Alt-Pop

File under: Alternative / Indie / Pop
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