What more can be said about Tame Impala that hasn’t already been repeated time and again? A considerable amount, actually. For the past fifteen years, Kevin Parker has received widespread acclaim, and he seems to have grown increasingly at ease with his status as the music industry's golden child… perhaps too much so.
While the sleek production of ‘Currents’ and ‘The Slow Rush’ expanded his following, it also seemed to stifle his creativity. Now, more than five years after his last album, this one-man band returns with 12 new tracks that send mixed signals, obscuring the once-clear vision he had. Although his musical textures have deepened over the years, Parker’s songwriting has weakened. Given the lukewarm responses to his contributions for the ‘Dungeons & Dragons’ and ‘Barbie’ films, there was already significant pressure on him.
‘Deadbeat’ stands out in that its least impressive track was released as a single, with lines like “Now I’m Mr. Charisma, fuckin’ Pablo Escobar” working against it. When Parker called this song a defining moment of his current phase, it became evident that he is not striving to compete with or exceed the standards he set in his previous four albums. This perspective likely influenced his decision to kick off the album with two other tracks similarly aligned with the aforementioned one. While ‘Loser’ appeared rather lackluster as a promotional release, ‘End of Summer’ carries a half-hearted beat and uninspired vocals—although it does contain a fleeting moment of warmth, the insincere delivery of “Do it on my own, goin’ through it on my own” undermines its brief promise.
Whereas the drums provided significant energy on his previous record, this one lacks the same rhythmic appeal, offering even fewer redeeming features. Instead, it depends on the optimism of devoted fans who trust in Parker almost without reservation.
The Australian producer appears somewhat unclear about what to release under the Tame Impala name at this juncture, as the tracklist fails to align from any perspective. For instance, the ‘Obsolete’ beat would have suited Nelly Furtado perfectly during her ‘Loose’ phase in the mid-2000s, but Parker's vocals do not flow over the instrumental as smoothly as they should.
Tracks like ‘No Reply’, ‘Oblivion’, and ‘Afterthought’ come across as less invigorating variations of an ambient house style already weighed down by excess. Much like André 3000’s shift to new-age yoga music, there are far more engaging examples of this genre circulating now, making these songs lackluster despite their pleasant sound. Although the 39-year-old claims to draw “deep inspiration from bush doof culture and the Western Australia rave scene,” the album doesn’t stand up even within that framework.
The frustrating aspect of ‘Deadbeat’ is that the potential hidden beneath its clumsy imprecision occasionally emerges, only to disappear before it can develop into something noteworthy.
Any expectations for the album to surpass its singles vanish within a minute of the first track when its warm and inviting intro abruptly shifts. Yet, Parker’s songwriting displays hopeful signs on ‘Piece of Heaven’ despite its flawed arrangement—with its detached closing segment being absolutely stunning and undoubtedly the most captivating moment on the album. Similarly, ‘See You On Monday (You’re Lost)’ approaches Tame Impala’s most engaging essence, although it too takes a turn in another direction when he sings, “I’m the one you want, and you can turn me on / But life ain’t too much fun when there’s no telling where you’re headed.”
These fleeting glimpses of his artistic brilliance make the overall flippancy of ‘Deadbeat’ all the more disheartening. This is precisely why ‘Not My World’ feels exhausting as it reverts to its original form after a somewhat catchy midsection. Furthermore, ‘Ethereal Connection’ occupies far too much space for its minimal offering over seven minutes. This track stands as the clearest evidence of Tame Impala’s identity crisis, with its dragging quality starkly contrasting the confidence that inspired it.
Other than sporadic hints of Parker’s brilliance, the album fails to ignite any passion; there’s nothing compelling enough to motivate a purchase or a desire to experience the tracklist live. Once considered the most thrilling prospect of the 2010s, his work seems increasingly indistinguishable from the very uniformity he once opposed. Although he remains the visionary behind Tame Impala, the Australian composer is starting to sound more like just another individual in a studio—a reality that used to astonish listeners.
5/10
Words: Karan Singh
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What else is there to discuss regarding Tame Impala that hasn't been repeated countless times? Quite a bit, in fact. For starters, they have received significant critical acclaim.