Tame Impala, the one-man musical project of Kevin Parker, released a new album “Deadbeat” Oct. 17.

Following Parker’s 2020 record, “The Slow Rush,” “Deadbeat” takes on a new persona and diverts from Tame Impala’s usual psychedelic rock. While maintaining some of the elements that create Parker’s signature musical dreamscape, the album adopts a more electronic dance sound.

Tame Impala’s new album is certainly a bold new choice for the artist and is altogether well-crafted — including a few standout tracks that excel — but it doesn’t land as flawlessly as his previous, more signature sound.

The opening track “My Old Ways” introduces the album with an unedited piano melody accompanied by Parker’s raw vocals as though the listener is sitting next to him on the piano bench. The melancholy lyrics set the tone for a reflective and meaningful project, with Parker crooning, “So here I am once again / Feel no good / I must be out of excuses / I knew I would.”

The bare vocals and instrumentals of the first verse are suddenly replaced by a polished chorus complete with an electronic beat, disguising the vulnerability of the lyrics under an upbeat rhythm.

I was pleasantly surprised by the third track, “Dracula,” which was one of my favorites on the record — perhaps because I felt it possesses a more traditional psychedelic Tame Impala sound alongside the new EDM sonics.

The downcast theme of Parker’s lyrics continue in this song, which follows Parker as he yearns for someone to love amidst partying with friends and feeling lonely.

“Dracula,” which was one of the three singles preceding the album’s release, begins with a haunting vocal chorus, followed by a synth-like beat and a captivating hook, promising “In the end I hope it’s you and me / In the darkness I would never leave.” In the self-deprecating “Loser,” Parker proclaims “I’m a loser babe / Do you wanna tear my heart out? / I’m a tragedy,” over a catchy if somewhat tiresome guitar riff.

“Oblivion’s” synth influence and raw lyrics help to progress Parker’s glum pattern with lyrics about pining for someone and a shared life together. The track, which excels in its backbone of a sharp beat and psychedelic vocal effects, lacks in melody and grows slightly repetitive throughout the song.

But, its simplicity works well if you are eager for a chill yet upbeat song to play in the background — Parker’s dreamy falsetto blends nicely with the captivating beat and light keyboard sporadically included throughout the song.

“Not My World” begins with a muffled beat that sounds as though you are hearing the song from another room of a house party, which blends beautifully with the song’s seeming theme of isolation and difference from those around him. Parker sings “Waking just in time / to catch the last hours of sunlight / People going home, they walk by / Must be nice / Makes me realize / It’s not my world.”

Track seven “Piece of Heaven” claims the crown as my favorite song on “Deadbeat.” The chord progressions are masterfully crafted to invoke a feeling of nostalgia, and the song’s continuous development keeps you on your toes.

Following a floaty introduction, the song builds with the inclusion of dreamlike instrumentals immediately reminiscent of 1980s artist Enya. At its peak, “Piece of Heaven’s” commanding drums, 80s instrumentals and Parker’s signature falsetto left me enchanted and promptly pressing replay. The next track “Obsolete” continues the 80s influence, using a synthesizer and bass to create a groovy, relaxed and nostalgic vibe and execute a charming retro sound.

Nearly eight-minute long “Ethereal Connection,” drew me in with its title, but didn’t keep my attention for long.

Its quick tempo was the correct choice when paired with the EDM sonics and sparse lyrics, almost seeming to invite its listeners to dance at a crowded club — however, its 7:42 minute length grows monotonous and doesn’t grab me like some of its neighboring tracks. Even “See You On Monday (You’re Lost),” which didn’t stray much from its few recurring verses, kept me far more interested with its unique melody.

It’s easy to hear influence from Michael Jackson’s “Thriller” in track 11 “Afterthought,” which borrows from “Thriller’s” synth beat and groovy rhythm. The once again downhearted lyrics, “No matter what I do / I’m an afterthought to you,” tug at your heartstrings if you truly listen to them, but the sonics are energetic enough to listen to mindlessly.

The album’s closer “End of Summer” begins by feeding listeners a nostalgic, vulnerable chorus in which Parker seems to long for a relationship that will never be the same as it once was.

The wistfulness, however, soon morphs into a fast-paced, electronic beat, solidifying Parker’s motif of melancholic electro-pop. Overall, “Deadbeat’s” delivery of introspective lyrics in tandem with 80s synth beats and EDM influence makes for a skillfully crafted, above par record with standout tracks like “Dracula” and “Piece of Heaven” tying it together, but I couldn’t help but feel that Tame Impala’s true calling is the psychedelic rock albums of the past.