Parker has been pretty quiet in terms of his own music, working as a producer on Dua Lipa’s ‘Radical Optimism’ from last year.
He wanted to make a techno album, something reminiscent of the ‘bush doofs’ he attended when he was younger. As a PSA, this isn’t an all-out techno album, but this is a project with a lot of dance elements, specifically techno, house, and pop.
Parker has been heading in this direction for a few years. Think back to the out-and-out psychedelic pop of ‘Currents,’ now considered one of the best albums of the last 20 years. His recent collaborations with Justice have also signalled a change in direction for the 39-year-old, with a more dance-driven approach.
The album begins with a roughly recorded voice note paired with piano chords, before bursting out and introducing electronic elements. Following track ‘No Reply’ is a massive misstep, and features a generic electronic beat with Parker delivering one of the worst lyrics of the year with “You’re a cinephile, I watch Family Guy, off a rogue website.”
Future Halloween banger ‘Dracula’ kicks the album back into life, with some of the poppiest production of his career. The album dips its toe into different sub-genres of dance music, whether it be the tropical house of ‘Oblivion’ or the techno banger ‘Ethereal Connection,’ which is an album highlight and something that could fit in well for Parker’s future DJ sets.
The artist's records often encapsulate a theme; his previous release, 'The Slow Rush', focused on the passing of time. ‘Deadbeat’ seems to focus on the self-critical aspect of Parker’s nature, and while this has been a theme on previous albums, its included heavily here. On the funky but woozy 'Loser' he sings: “I'm a loser, babe (Yeah) / Do you wanna tear my heart out? / I'm a tragedy / Tryin' to figure this whole mess out.” There also seems to be some self-acceptance here, with the artist admitting he's more comfortable with his anxiety.
‘Afterthought,’ which nearly didn’t make the album, is a funky song all about being an afterthought to someone who you really value. The juxtaposition of the track’s thriller-esque bassline with the insecure lyricism creates one of the best songs on the record.
The last track, ‘End of Summer’, feels more at home alongside this batch of songs, and hearing it in the context of the album improves it immensely. This is a great closer that, like any great Tame Impala track, takes its time and leaves you satisfied.
'Deadbeat' is a solid new addition to the Tame Impala catalogue, and the move into dance music is a solid success. While not up there with some of his best work 'Currents' or 'Lonerism', this signals an interesting new direction and the sign of an artist who never rests on his laurels.
Brett Herlingshaw
Image: Julian Klincewicz
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