Pitchfork gives Tame Impala's Deadbeat a score of 4.8/10

[Teletubby 165,563]

For a while, Kevin Parker was sculpting some of the most prismatic yet accessible hits around, searching for that secret place where producers like Phil Spector, Dave Fridmann, and Quincy Jones found the answer to pop. Once as beloved as any other early-’10s indie starlets, Tame Impala have become so synonymous with a particular strain of fancam-ready groove-pop mush that it’s easy to forget why everyone liked him in the first place. But if I may, let me offer that the same quality that launched Parker to ubiquity has always been his greatest strength. Lonely kids who haven’t found their way to Popol Vuh and Soft Machine yet deserve headphone music to bliss out to, too.

Though people have been accusing Parker of defaulting to classic rock tropes ever since his heyday, he has never seemed particularly beholden to those constraints. Sure, he loves the Beatles, but he’s equally enraptured by Orbital, Timbaland, Rihanna, and countless other corners of the mainstream music world past 1970. After all, we’re talking about a guy who realized the transportive powers of dance music after hearing “Stayin’ Alive” on shrooms in the back of his friend’s car.

Is it Parker’s fault that his snare rolls on Lonerism were too crisp? That his basslines on Currents were too juicy? Now that he’s at the top of the mountain and co-writing Dua Lipa flops, penning songs for Minions sequels, and collecting Grammys for his most generic tracks yet, Deadbeat arrives asking the question: What’s left to do for the psych-rock prodigy turned dance-pop consultant? ......

https://pitchfork.com/reviews/albums/tame-impala-deadbeat/

[River 130,222]

deadmeat 

[Guest]

Pitchfork seeks attention again 

[CYCLOPS 6,575]

Now that he’s at the top of the mountain and co-writing Dua Lipa flops, penning songs for Minions sequels, and collecting Grammys for his most generic tracks yet, Deadbeat arrives asking the question: What’s left to do for the psych-rock prodigy turned dance-pop consultant?

 

oh wow

[garbage day 11,889]

6 minutes ago, River said:

deadmeat 

I love them!

[princedeeblebleble 4,055]

It's not THAT bad, but compared to older songs its kinda underwhelming.

[LadyxGaGa 3,286]

this is amazing news. that’s less than what mayhem got 

[nodandsmile 11,843]

16 minutes ago, LadyxGaGa said:

that’s less than what mayhem got 

why is she in it?

[garbage day 11,889]

6 minutes ago, nodandsmile said:

why is she in it?

Do you know where you are

[Killa 19,016]

Honestly i didn't likes that album that much. Seems way too low, trying to be edgy as per usual

[StarstruckIllusion 54,037]

honestly fair.

kinda shocked Pitchfork did this bc he was doing the extra artsy fartsy thing, but sadly Dracula is the only really enjoyable song on at album. 

it disappointed me as a casual fan for years 

[tomsches 17,576]

It’s a Good Album but not something that I would go back to and listen again. Maybe Dracula and End of Summer I would go back to again but the Rest ist just ok. But a 4.8 seems a bit harsh 

[SidewalkUnicorn 323]

1 hour ago, LadyxGaGa said:

this is amazing news. that’s less than what mayhem got 

I could see such a comment if they gave Mayhem a 5, but it got an 8.

[Argentum 1,705]

"co-writing Dua Lipa flops, penning songs for Minions sequels, and collecting Grammys for his most generic tracks yet" 
damn ok chill... shouldn't they be reviewing the music and not the commercial/cultural significance/character of the artist???

i havent listened to the full thing but the reviewer needs to take a breath

[Louvre 4,555]

This reviewer genuinely sucks. I dont mind when pitchfork goes in on someone, sometimes its even funny. But this wasn't it and I dont even ride for Tame Impala or Dua Lipa like that.