The album opens with what could be mistaken for a demo. The fuzzy, unpolished piano and vocals of "My Old Ways" is immediately a jarring deviation from what has come to be expected from Tame Impala, an artist who has long been praised for the type of skillful craftsmanship that is displayed in songs such as "The Less I Know the Better" and "Feels Like We Only Go Backwards;" high quality, highly cared for sonic experiences.

Pity the listener who turns off the album within the inaugural minute, though, as the song soon transitions into cleaner sounding drum and bass. By providing that quick peek before diving in, Parker shows his humility and makes himself vulnerable — themes that serve as the album’s backbone. The self-loathing lyrics paired with the four-on-the-floor dance beat that emerges create a dichotomy that extends itself throughout the record’s entirety. It can be confusing at times, but what isn’t? Everything ahead of us is uncharted territory. 

And that idea and that sound is hammered into your ears. 

Deadbeat is not terrible. It is just underwhelming compared to older albums like 2011’s Lonerism and 2015’s Currents. Parker’s primary concentration seemed to be on creating an album that was danceable, removing the focus from the synthy, funky pops of color that you might find in an earlier Tame Impala album. Those earlier albums cannot be replicated, though, and replicas should not be what the fan desires, but when new things are introduced, we want to be wowed by them. Unfortunately, it may take some getting used to before the average listener can be wowed. 

Tame Impala’s music in the 2010s was unique, and Kevin Parker could be regarded as something of a pioneer with his combination of the alternative rock feel from a time since past with the elements of modern electronica. On Deadbeat, Parker is more conforming, choosing to shift into an existing electronic dance environment rather than continuing on the path he had carved out. The impala is leashed and is being directed elsewhere. 

It is clear why two of the singles, "Dracula" and "Loser," were chosen to be singles as they are the two tracks that most clearly bridge this gap between old and new. They are nostalgic yet futuristic, employing some of the psychedelic elements that define Tame Impala while still having a fresh techno energy. The songs’ lyrics also play on the album’s theme of self-deprecation and simultaneous self-discovery, further contextualizing this period as one of adjustment in Parker’s life. 

The other single, "End of Summer," encapsulates the "crying on the neon dancefloor” imagery that Deadbeat wishes to evoke. It’s upbeat and highly animated, but the lyrics illustrate a pensive yearning for a past lover as Parker sings lines such as "just 'cause I don’t regret it doesn’t mean I won’t think about it." "Ethereal Connection" is all dancefloor, no tears. Its heavy drum beat that bangs on for seven minutes may not be enjoyable for casual listening, but that is not the context in which it is meant to be heard. As with many songs on the record, it would make more sense when played over loudspeakers. 

"No Reply," "Piece of Heaven" and "Not My World" represents the push and pull between fame and the desire for domesticity. The latter is written from the window where Parker is observing all those who live a normal life, watching them go home and commenting that it "must be nice" as he is too overworked to be with his family. He expresses this in a line from "Piece of Heaven" where he sings, "Don’t know if I’ll be here, I guess that depends." These three tracks show the unglamorous side effects of Parker’s work, creating surprising personal confessions in the midst of the party atmosphere. 

It is no hard task for the songs on Deadbeat to melt together in memory because no song seems to stick out above the rest. Most tracks lack the ability to truly pull a listener in and allow them to think deeper about what they’re engaging with, but that was not Parker’s intention. 

A wild animal does not survive well in chains, and the impala is no special exception. Kevin Parker’s creative redirection speaks to the natural cycle of a musician, having to switch routes in order to find what truly suits their imagination. Though Deadbeat was dissimilar to the established sound of Tame Impala, it is an album that is perfectly human. Parker does not shy away from honesty but instead embraces it. The record marks a period of change, both sonically and personally.