Deadbeat

Tame Impalas music has always been bonding. A universal code of connection. That all ends today.

I never did think I would see the day that Tame Impala lovers around the world (of which there are many) would be divided. But Deadbeat has done it. Fans and critics everywhere are… torn. I believe such is bound to happen when a fan-favorite returns after a long hiatus and has… well, completely changed their genre. And in all fairness, Kevin Parker is up against one hell of a legacy. The Australian shook the world with his addictive (psychedelic) rock and indie sounds throughout the entirety of the 2010s, right up until COVID-19. Between the nostalgia of Lonerism (an album many claim to be one of the best rock records of the 2010s) and undying (thanks to social media) joy of Currents. In other words, no matter what Kevin does, it is going to be compared to his previous work. We gotta cut the man some slack. 

The comparison has been exaggerated due to Deadbeat’s embrace of completely new territory for Parker. Kevin carried a few things over into pop-dance from indie rock (namely his beloved synths), but little else remains intact. Many of the songs feel tighter, more closed-in than the airy, spacious sound he is known for. Likewise, the production feels flat, rather than multi-dimensional as his previous work has. And of course, the lyrics.

Among listeners, I’ve observed that the success of Parker’s writing on Deadbeat is a matter of personal choice. While some enjoy the intimate nature of Deadbeat that brings us into Parker’s personal manhood, others are feeling smothered. One of the most notorious features of his early albums was their applicability. They were zoomed-out songs in which it did truly feel as though anyone could find meaning and relatability. Parker kept us at a distance in InnerSpeaker, Lonerism, and Currents as he marked those songs with his musical genius, not his the story of his life. In a world where people love to write about themselves, I believe the detachment of those records played a major role in their success. Their sonic experience came before their storytelling, making them for anyone. The Slow Rush was Parker’s first toe in the water around writing more personal lyrics, a reason why the album disappointed many. But at the same time, there were people that struggled to connect with the vagueness of albums like Currents, for whom the personal touch of The Slow Rush was refreshing. 

While I have a personal preference for Parker’s vaguer lyrics, I would certainly be open to more personal writing styles. As long as they’re good. And I can’t say the writing on Deadbeat is anywhere near good. Weirdly enough, I think Parker sounds more introspective when he is zoomed-out, making big, existential claims about how he is feeling and his place in the world. I feel plenty close to him like that. I don’t, on the other hand, want to know that he illegally streams Family Guy. 

The “I’m in your bedroom, I’m your possession" of Piece of Heaven literally makes me feel like I’m listening to a Tate McRae song.  Meanwhile, the immature honesty of Obsolete is equally brutal: “Do you want my love? Is it obsolete? Always was so easy hanging out. But it sure doesn’t feel like that now. I know that you have been feeling rough.” Brother, you’re like 50.

Meanwhile, Loser and End of Summer stand out as the strongest on the record. There is something strangely sexy about the yearning, pathetic, whiny tone of Loser. I’m a wreck for you kind-of-vibe. I am nothing without you kind-of-vibe. End of Summer, on the other hand, got the closest to what I believe Kevin was trying (or at least should have tried to do more) on this record. He maintained that airy, cinematic sound while keeping a beat tight and telling a lyrical story (which isn’t overly-literal or cringe). The funny pitched-up jingle sample is silly, but not overly-so. I also think the length of the track (7 minutes) gave Kevin the opportunity to put more effort into the track than some of the others, many of which feel like an afterthought. He is given the time to make things interesting, switch tempos, and introduce new elements, ultimately making it the strongest on the album. 

I applaud Tame Impala for trying new things. For branching out to a new genre. I=But if you are not going to branch out within that genre - i.e. if you are just going to comfortably make more mid indie house, of which plenty already exists - you better not head in that new direction at all. I would rather Tame Impala make repetitive but consistently good rock forever than make a bad attempt at a new sound that no one asked for. But then again, I can hear that Deadbeat was important to Kevin on a personal note. The evolution is part of something bigger for him. And at the end of the day, we still have the old songs. They are safe in our libraries and won’t be going anywhere soon. Kevin once famously said Yes I’m Changing. Let’s let the man change.