Deadbeat
by Tame Impala

I do like this album. I don't think it lives up to its potential. Some of the songs feel like recycles old Tame Impala demos. I love End Of Summer again. I would urge Kevin to dig deeper. (Edited)

I thought it was a great dance album with an interesting mix between slower more lyric focused tracks and thumping bass line boogies. It's weird to think that I feel like Tyler, the Creator had a better electronica/dance album for 2025 than freakin Tame Impala, but here we are. (Edited)

From Strangel 11/02/2025 11:30 | #311550 | TOP COMMENT Vote up your preferred comments and the comments with the most votes will be flagged.

I like the sound of rave music done well. But rave music needs to be fluid, with a seamless mixing carrying you forward on a journey, unbroken by genre changes without a thread of the rhythmic transcendences driving you forward. There’s nothing wrong with the dance/rave compositions within this album but the saccharine sweet pop interspersed makes me want to throw up at times. Not a bad album but not the best construction of an album. There is no doubt that many of these tracks will wind up on DJ sets in Ibiza. They are worthy of that but this album is not going to be a go-to for me. He’s still a favourite artist of mine with immense talent so it’s always going to be a curiosity as to what direction he takes next. (Edited)

From Cargusbralem 10/23/2025 04:16 | #311432 | TOP COMMENT Vote up your preferred comments and the comments with the most votes will be flagged.

“Tame Impala but it’s rave” is not a concept that’s doomed from the start. It could’ve worked, and in some ways, it still kind of does.

​I disagree with some people stating that this doesn’t sound like an album that took five years to make. The multilayered intricacies and textures are very much there. I have no doubt it took Kevin five months just to settle on a bass drum for Ethereal Connection. The technical effort and dedication to sound design are undeniable.

But ​in spite of this, Kevin’s strengths are struggling to surface on this record. This album is like watching someone play basketball with a medicine ball. The core musical ideas seem weighed down by attempting to fit them into a more rigid framework.

​What I can’t quite explain is why Kevin’s falsettos worked so well on Currents but have started to sound awkward and out of place more frequently. It feels like it’s in the wrong setting now, and it's unable to seamlessly float above the dense production as it once did.

​Ultimately, I have this strange feeling where I hope things pick up and return to form on future albums, but at the same time, having your daughter be the face of the worst album of your career is something I wouldn’t wish on my worst enemy. (Edited)