After five years of anticipation, Tame Impala’s fifth studio album, “Deadbeat,” is a 12-song compilation of low-effort, unpolished tracks leaving listeners wanting more. 

Tame Impala, the psychedelic music project of Australian singer-songwriter Kevin Parker, dropped its fifth studio album Oct. 17. While many hoped it would live up to the expectations set by “The Slow Rush” in 2020, Parker failed to deliver. The album is used as a means of self-exploration, filled with personal experiences and grappling with feelings of being inadequate. While the messaging is prevalent, the execution is poor, and the album lacks the instrumental substance that fans have come to expect from Tame Impala.

The album kicks off with “My Old Ways,” which starts with Parker’s raw vocals before layering in the drums and synths. While the song suggests Parker is falling into the same mold he inhabits with past music, it provides the listener with false hope, as the album takes a more pop route instead of his traditional psychedelic rock.

Transitioning into “No Reply,” Parker’s vocals truly shine, but the beat differs from his traditional discography and clashes with his lyrics — an upbeat pop track is mixed with Parker’s self-criticism and doubt as he sings: “Was I impolite? Was that joke alright? / I just want to seem like a normal guy.” Despite his remarkable vocals, the production is subpar, transitioning from a pop beat to a piano ballad that seemingly looks to be something different but does not quite get there.

The epitome of a pop anthem, “Dracula” stands out as one of the top tracks on the album. Hoppy and upbeat, the song is perfect going into the fall season, with the melodic bells and deep cackles on the backtrack reminiscent of something that would be played at a Halloween party. 

Originally released Sept. 3, “Loser” embodies Parker’s self-pity and lonerism with harmonic vocals alongside alternative indie singer Djo. The song reflects on one of Parker’s past relationships he cannot reconcile, something ultimately his fault. While the song’s production does lean more into pop, the message and lyricism hammers home the overall theme of the album without getting lost, making it one of the best tracks.

Following “Loser” are “Oblivion” and “Not My World,” both of which are forgettable house mixes strewn together with careless synths and beats. The musical interlude in “Not My World” is pitiful in comparison to the rest of his discography. The stark beats jar the flow of the album, which up until “Oblivion,” was similar to what one might expect from a Tame Impala album. While the effort for stepping outside of his comfort zone with these tracks was there, Parker was unable to deliver anything truly noteworthy.

On the next track, “Piece of Heaven,” Parker finds his way back to his messaging, with meaningful lyricism and impeccable production. The lines, “This room is in shambles / But I think it’s fine / To you, it’s untidy, maybe / To me, it’s divine,” almost hint at the album itself, as Parker is known for being obsessive with his music, and “Deadbeat” is an attempt at him taking a step back from that.

In a dramatic shift, the next track “Obsolete” outshines the entire album with its tropical house beats as Parker begs his partner to be honest and upfront with him while he verges on the edge of breaking down. The outro of the song is immaculate, with Parker showcasing his musical talent through a funky guitar riff. 

Toward the end of the album, “Ethereal Connection” and “See You On Monday (You’re Lost)” can be described by track 11: an afterthought. Starting off with “Ethereal Connection,” the psychedelic house track does not sound like it belongs on this album, and the seven-minute runtime is a drag. With synths and pieces sounding like something from “Lonerism” — his fan-favorite second studio album — Parker found a way to make “See You On Monday (You’re Lost)” unenjoyable. With its reused melodies and unpolished lyrics, the song is all over the place, making it unlistenable. 

On track 11, Parker seems to have finally figured out how to step out of his comfort zone with “Afterthought,” as this song is anything but. His upbeat synths and smooth harmonies sound like Tame Impala while still providing something new for listeners. 

In a disappointing fashion, the 12th and final track, “End of Summer,” is a weak closer to an already struggling album. The one-dimensional house beat provides nothing new, and the slow build leads to a weak bass drop, leaving listeners unsatisfied when the album is over. 

While “Deadbeat” has its highs and lows, the album as a whole was poorly done, showcasing how Parker’s polish is the key to a successful album.