PebblePilot
Well-known member
Tame Impala's latest offering, Deadbeat, raises more questions than answers. Kevin Parker's foray into pop's upper echelons has been marked by an astonishing lack of pretension, yet the album's melancholic undertones suggest that even a Tame Impala stalwart might be grappling with the weight of success.
The contrast between Parker and Dua Lipa during her recent Sydney gig was striking. While she shone in a glittering lace catsuit, Parker looked like he'd just emerged from a long night at Glastonbury's stone circle – a far cry from his glamorous pop star counterpart. The visual disparity serves as a metaphor for Parker's unlikely journey to mainstream success, which began with a chance encounter with magic mushrooms and the Bee Gees.
The primary influence on Deadbeat is western Australia's "bush doof" rave scene, evident in the preponderance of pounding four-four beats. However, this dance music fixation can sometimes feel forced, particularly when Parker injects pop melodies into instrumental tracks. The album's dance floor appeal is undeniable, but it's often at the expense of more nuanced songwriting.
The lyrics reveal a disconsolate tone, as if Parker is struggling to balance his desire for creative expression with the demands of fame and domesticity. Tracks like "Dracula" and "My Old Ways" convey a sense of self-loathing, while "Not My World" expresses a longing to escape the confines of everyday life. However, even these introspective moments can't entirely mask the influence of pop's sugary sweetness.
Despite this, Deadbeat is an album that rewards close listening. Parker's music often mirrors the unsettled tone of his lyrics, with songs like "My Old Ways" and "No Reply" featuring demo versions played on acoustic guitar or piano before being overdubbed with more polished arrangements. This process reveals the music's inner workings – it's not always as it seems.
Ultimately, Deadbeat feels like an album that's constantly drawing back the curtain to reveal its complexities. While it can be occasionally confused, it's also painfully honest and genuinely wracked with emotion. If the man behind this record is struggling to cope, then so are we.
In contrast, Helen Ballentine's debut album Living exudes a gentle wistfulness, driven by acoustic guitar and piano. As a respite from Deadbeat's sonic chaos, it's an undeniably lovely listen – a testament to the power of understated songwriting.
The contrast between Parker and Dua Lipa during her recent Sydney gig was striking. While she shone in a glittering lace catsuit, Parker looked like he'd just emerged from a long night at Glastonbury's stone circle – a far cry from his glamorous pop star counterpart. The visual disparity serves as a metaphor for Parker's unlikely journey to mainstream success, which began with a chance encounter with magic mushrooms and the Bee Gees.
The primary influence on Deadbeat is western Australia's "bush doof" rave scene, evident in the preponderance of pounding four-four beats. However, this dance music fixation can sometimes feel forced, particularly when Parker injects pop melodies into instrumental tracks. The album's dance floor appeal is undeniable, but it's often at the expense of more nuanced songwriting.
The lyrics reveal a disconsolate tone, as if Parker is struggling to balance his desire for creative expression with the demands of fame and domesticity. Tracks like "Dracula" and "My Old Ways" convey a sense of self-loathing, while "Not My World" expresses a longing to escape the confines of everyday life. However, even these introspective moments can't entirely mask the influence of pop's sugary sweetness.
Despite this, Deadbeat is an album that rewards close listening. Parker's music often mirrors the unsettled tone of his lyrics, with songs like "My Old Ways" and "No Reply" featuring demo versions played on acoustic guitar or piano before being overdubbed with more polished arrangements. This process reveals the music's inner workings – it's not always as it seems.
Ultimately, Deadbeat feels like an album that's constantly drawing back the curtain to reveal its complexities. While it can be occasionally confused, it's also painfully honest and genuinely wracked with emotion. If the man behind this record is struggling to cope, then so are we.
In contrast, Helen Ballentine's debut album Living exudes a gentle wistfulness, driven by acoustic guitar and piano. As a respite from Deadbeat's sonic chaos, it's an undeniably lovely listen – a testament to the power of understated songwriting.
. And can we talk about how Dua Lipa just owns that stage while Parker looks like he'd rather be at home with a cuppa 
️? It's like they're reflecting two different Aussie personalities - one's all sunshine and rainbows, the other's all brooding angst 
. But you know what really gets me? The tension between pop sensibilities and more experimental vibes... it's like Parker's trying to reconcile his indie roots with mainstream expectations 
. And that's where I think Helen Ballentine comes in - her understated approach is a breath of fresh air, reminding us that sometimes less is more 
.
imagine the visual representation of his music - it's like a maze with lots of twists and turns... some paths lead to dance floor anthems 
while others take you on more introspective journeys 
2 many producers trying 2 fit in w/ the pop crowd, makin it sound forced 
gotta wonder how far kevin parker's 'art' really goes... seems like more of a calculated attempt 2 be mainstream than actual creativity 
.
. The more I listen to Deadbeat, the more I feel like he's putting on this stoic facade while secretly eating an entire pizza by himself 
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. And I am HERE. FOR. IT.
). It's a super honest and emotionally charged listen, even if it's not always gonna be easy to digest 
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The whole bush doof vibe is cool and all, but sometimes it feels like he's just phoning it in. And don't even get me started on the lyrics - I mean, "Dracula" sounds like a mood ring for when you're feeling extra emo 
. It's so soothing and gentle, like a warm cup of tea on a chilly day 
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I mean, have you seen the sales numbers for Deadbeat vs Living? 
It's like 2:1 in favor of Deadbeat! 
On a related note, I found this stat that says Kevin Parker's production style is responsible for like 50% of Australia's dance music scene 
And it's no wonder, with his experience in the Western Australia rave scene... 
The data also shows that Deadbeat has been streamed more on vinyl than CD in the past quarter 
But at the same time, both albums are so honest and raw... it's like we're seeing the artists' innermost selves on record 
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He even sold a bunch of his artwork online during Tame Impala's tour last year 
. That's some dedication to creative expression!
like, have you noticed how many tracks feature demo versions of them on acoustic guitar? that's like, so revealing about the creative process 
. The way the album jumps between dance beats and acoustic moments is like a rollercoaster ride of emotions - sometimes you're grooving along to the beat, and then BAM! You're hit with these introspective lyrics that just leave you feeling... well, not so great 
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. And honestly, it's a bit relatable? Who hasn't felt like they're stuck in a rut or trying to navigate the highs and lows of adulting? 
. Some tracks like "Dracula" are giving me all the feels and I love how raw they sound, but then there's moments where it feels like Kevin Parker is trying too hard to fit in with pop culture 
. There are so many hidden details and nuances in there that if you just play it once, you'll miss out on all the goodies 
. And honestly, after hearing Living by Helen Ballentine, it's like a breath of fresh air 
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. A perfect respite from Deadbeat's sonic chaos.
. It's definitely not as flashy or attention-grabbing as Deadbeat, but sometimes less is more, right? 