Tame Impala — the Grammy-winning and influential band known for an eccentric electronic sound — released their much-anticipated fifth album “Deadbeat” Oct. 17th. The album, consisting of 12 tracks, marks Tame Impala’s first in over five years and showcases the continual evolution of sole member Kevin Parker as both an artist and a person. “Deadbeat” — although not without more flaws than Tame Impala’s fans have grown to expect — is interesting, fresh and bursting with artistic ambition.
The band, which consists solely of the Australian-born Parker, erupted into stardom in the early 2010s with music that fused melodious electronic sounds with the established appeal of psychedelic rock. “Deadbeat” is most aptly categorized as EDM, importantly an evolution in the sound of Tame Impala that coincides with a personal evolution for Parker — the album cover showcases his newfound fatherhood.
Parker described the Australian club scene as the primary influence on this album. This Australian club music was given the charming label of “Doof Doof” music, which Parker said was initially thought of as derogatory because it minimizes the complex sound of the music. While diehard fans of the earliest works of Tame Impala may be skeptical of Parker’s continual shifting of his sound, under the EDM carapace of “Deadbeat” lies some of the same lyrical depth and technical brilliance that elevated Parker’s past works.
The first track, “My Old Ways,” begins with Parker’s vocals over a traditional piano riff before an electronic beat crescendoes and morphs the track into a groovy, hypnotic dance track. On the track, Parker reflects on his tendencies for self-deprecation and harmful obsession when creating music — “I know why I said never again.”
Parker goes on to explore his crippling social anxiety in “No Reply” and ends it, poignantly and vulnerably, by stripping it down to just a piano riff. This vulnerability of Parker is central to the significance of this album. Throughout the album, Parker grapples with his ever-present personal issues and the newfound perspective that fatherhood gives an aging artist. His lyrics oscillate between the self-reflective themes of his past work and the stark shift in priorities that fatherhood offers — a shift away from the self.
On the next track, “Dracula,” Parker switches and revels in the self-confidence of a titanic success in the music industry with cool, cocky self-descriptions. ”I’m Mr. Charisma, f***ing Pablo Escobar,” he asserts. He embraces the influence of past R&B hits with a hook and vibe that recalls the melodic funkiness of Michael Jackson’s “Thriller.”
On “Loser,” Parker revels in his own personal anxieties through a gaudy/striking EDM sound, evoking an aura of a techno-Phil Collins. His hook “I’m a loser babe / Do you wanna tear my heart out? / I’m a tragedy / Tryin’ to figure my life out” is catchy and personal. This acceptance and celebration of his own self-deprecation is central to this album whose title, “Deadbeat,” holds an important double meaning as both a reflection of Parker’s abasing self-perception and a degradation of his music.
At times, these repeated themes of personal insecurity juxtaposed with the confidence in his past success feel a bit recycled, otiose and shallow. The sonic landscape of EDM certainly does him no favors and demands laconic lyrical expertise. On some tracks on the record’s latter half, Parker appears to transform nearly completely into an EDM artist. Songs like “See you on Monday (You’re Lost)” and “Not My World” feel uncharacteristically banal with plainer EDM sounds and stereotypical lyrics.
However, Parker’s technical brilliance and endearing vulnerability within his lyrics ultimately overshadows the weaker moments on this record. Standout tracks like “Ethereal Connection” and “Piece Of Heaven” masterfully blend moments of intense transcendence and newfound personal vulnerability rooted in Parker’s fatherhood. The sounds of these tracks are unique to Tame Impala.
On “Piece Of Heaven,” Parker transforms his melodic pop sound into a complex, layered and infectious EDM track. He builds synths, gaudy/graceful yet forceful(or just graceful) drums and over a simple yet potent celebration of his fatherhood — “It’s a small piece of heaven, I find myself in.”
This album works best when Parker embraces a fusion of popular R&B and unique electronic sounds to pair with his infectiously melodic vocals. A standout on the back of the record, “Afterthought,” blends this R&B sound with a crafty, confident electronic beat that contrasts with the deep insecurity of the lyrics. The song features a groovy bass riff, infectious background vocals and a fast-paced techno beat, culminating in a beautifully chaotic vibe that practically dances for the listener.
The concluding track of the record demonstrates the tension that can arise between EDM instrumentals and Parker’s pop vocals. On “End Of Summer,” Parker details a distant lover apologizing for his separation in lyrics that has a not-so-subtle double meaning of Parker also grappling with his departure from the psychedelic rock sound that many Tame Impala fans love so dearly. Ironically, this song is disappointing even for fans excited by Parker’s new artistic ventures. Parker’s pop vocals feel awkward and incongruous with the up-beat techno vibe of the trap drums and synths that fill the crescendoing instrumental.
The blending of his melodic vocals in the context of elaborate EDM is a tall task, and Parker succeeds for the majority of the record.“Deadbeat” ultimately stands tall as a personal, unique and technically proficient work — albeit a little shorter than the rest of Tame Impala’s stellar discography. Parker’s hallmarks of endearing, relatable self-reflection in his lyrics and deep passion music remain crystal clear on the groovy, idiosyncratic and technically proficient “Deadbeat.”
Read More
State of the art: A study in Charlottesville’s vibrant mural scene
By Caroline Lee | 4 hours agoFrom Belmont to Barracks and from the Corner to the Downtown Mall, murals have been woven into the fabric of the city, blurring the line between public space and personal expression.
The Rare Book School fosters a framework for tangibly interacting with textual artifacts
By Darya Bartol | YesterdayThe Rare Book School is open to students, faculty and local community members alike, with classes and exhibits that work to highlight their mission of understanding our cultural history through physical text.
Old Crow Medicine Show is ‘every hometown's favorite band’
By Amelia Lucien | 4 days agoThe Cavalier Daily spoke to Old Crow Medicine Show member Cory Younts about the history of the band, the energy and specialization that goes into shows, and the camaraderie that makes Old Crow feel like home.
