Label: Columbia Records
Released: 17th October 2025
Kevin Parker has changed the cover and the conversation at the same time. The face that once hid behind kaleidoscopes now turns up in black and white: family snapshots, a gawky teenager, the ordinary mess of a life that used to be kept out of frame. ‘Deadbeat’ sounds like that looks. Tame Impala’s colours haven’t drained so much as stepped back; you can feel the air in the room, the scuff on the floor, the kick landing first and everything else arranged to respect it.
Kevin Parker has always joined dots between psychedelic drift and the hypnosis of a long, evolving club track. Here, he stops pointing at the dots and draws between them. The thrill isn’t that he’s “gone techno” – he hasn’t – but that he trusts a drum and a bass line to carry the load while the rest of the picture stays light on its feet. Keys add a chapel-cool glow around the edges; guitars sketch a silhouette; when colour does arrive, it’s late and chosen, not poured on by habit. The kick is the truth; everything else arranges around it.
The title tells you what he’s up to lyrically, and it isn’t a sulk. ‘Deadbeat’ is a persona he can throw against the music to see what sticks – self-drag as release, not pity. The voice sits drier and closer than Parker usually allows, lines landing plain and unadorned, the bluntness doing a job the old dream-haze never could. ‘Not My World’ is the closest he comes to the bare-bones mission he gave himself at the start: stripped, in the room, happy to leave the skeleton visible. ‘No Reply’ flips the long push-pull between wanting to feel normal and enjoying being different into momentum rather than myth, the dance chassis turning a confession into a moving part.
That economy is the record’s character. Verses carry space; pre-choruses grip then shift aside; refrains do the heavy lift without pulling in a monologue. Where Parker once kept adding until a section felt finished, ‘Deadbeat’ prefers to find the moment where a pattern breathes and leave it there. The closer ‘End Of Summer’ is the one long arc he allows himself: patient, earned, more resolution than victory speech.
The much-discussed bush-doof influence isn’t a costume change. It’s an atmosphere the songs treat as home. ‘Dracula’ makes sense in that light: a sleek club shadow moving under a Tame melody, the design rules unchanged. ‘Loser’ throws a grin at the title’s persona without turning it into skit work, mid-tempo and groove-led, proof that Parker can steer the theme without over-explaining it.
What’s new isn’t just the pulse; it’s the restraint. He set out to keep the bones bare – he even talks about wanting it “punky” – and you can hear him win that argument more often than not. You can also hear the old instinct peeking round the corner once or twice, a flourish added where a decision would have done. There are places where a plain line states the obvious, and a hook would punch harder if the lyric met it halfway. None of it spoils the record. It does keep it honest: you’re listening to a producer with a famous layering habit learning when to stop.
This isn’t Parker trying to turn his biography into a thesis; the family photos aren’t a marketing brief. They’re context for the way ‘Deadbeat’ draws nearer, for why the bluntness feels earned and not staged. Becoming a parent sits in the background like weather – you’d be daft to hang a review on it – but it explains the calm in the centre of these arrangements, the confidence to let something simple do the work.
What he hasn’t ditched is the knack for hypnosis. The old Tame Impala trick – a drift that pulls you forward rather than away – survives the palette switch. The record is honest about its own contradictions, too. He wanted to keep the frame sparse and couldn’t resist gilding the edge now and then. It works because the contradiction reads like design.
‘Deadbeat’ is less concerned with being impressive and more concerned with being in contact. It’s not a stunt pivot, not a bid for scene points, definitely not a nostalgia play. It’s Kevin Parker choosing to put the moving parts where you can feel them, then letting his voice carry closer than usual over the top.
It doesn’t hit perfection, and thank god for that. A few phrases skate where they could cut; a couple of sections expand where they might contract. But the record earns its clarity as a confident reorientation of what 2025’s Tame Impala is. The club-psych thread he’s hinted at for years finally has a full-length that trusts the pulse without abandoning the groove, and a persona that opens a window rather than pulling the curtain down.
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