Impalas

Each week, our Songs of the Week column highlights the best new tracks from the last seven days. This week, we dig into Tame Impala’s latest single “Loser,” the second offering from their upcoming album Deadbeat.

10 years ago, Kevin Parker released a Tame Impala song called “‘Cause I’m a Man” for the band’s beloved third album, Currents. A lot like “Feels Like We Only Go Backwards” and “New Person, Same Old Mistakes,” “‘Cause I’m a Man” took aim at habitual fuck-ups and the excuses that men make when they can’t escape their own destructive patterns, blaming biology with a clever shrug and letting the song’s majestic chorus do most of the talking.

This theme of Parker lamenting his inherent flaws resurfaces with even sharper self-awareness on Tame Impala’s latest single, “Loser,” the new offering from the band’s upcoming fifth album, Deadbeat, out October 17th. “Loser,” with its modest trot and front-and-center vocals from Parker, feels intrinsically linked to “‘Cause I’m a Man;” but where the songs merge with regards to tempo, lyrical content, and production, Parker makes “Loser” a lot spikier than his usual psych pop bliss.

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“I got the message, I learned my lesson,” Parker croons in his shimmering head voice, channeling both dejection and wistful yearning. He recalls Beck’s eternal dirtbag anthem of the same name in the chorus, offering a similarly dramatic suggestion regarding his pathetic streak: “I’m a loser, babe/ Do you want to tear my heart out?” It’s all deeply in line with the type of psych-tinged slacker rock that Parker is going for, complete with a sharp electric guitar line and enough space in between the drum beat to let his self-loathing breathe.

It’s a far cry even from prior single “End of Summer,” which provided a brief trip to the Tame Impala Acid House Factory and brought a repetitive buoyancy found mostly in the band’s extended odysseys like “Let It Happen.” But “Loser” is a lot less concerned with tripping out and much more focused on the id; the raw impulses and self-destructive tendencies that Parker usually wraps in layers of dreamy production are presented here with minimal cushioning, save for the touch of atmosphere on his vocals and the kaleidoscopic synths that warm up around the bridge.

But self-deprecation aside, “Loser” is great because it grooves. The song’s bounce and plucky keyboard touches are almost like a ’90s hip-hop cut; Parker’s descending pre-chorus, layered with harmonies, is sweet like syrup. It’s this tension between Parker’s harsh self-assessment and the song’s catchiness that makes “Loser” such an intriguing preview of Deadbeat. Even when he’s calling himself pathetic, he can’t help but make bangers.

— Paolo Ragusa
Live Music Editor

Hatchie — “Lose It Again”

Hatchie’s back! With “Lose It Again,” the Australian dream pop star continues her use of psychedelic instrumentation and indestructible hooks for a powerful final product. “You are the star I’m chasing,” she sings, with romance swirling all around her; the song’s chorus is so open and cathartic that it sounds like something Hatchie has been waiting to say for ages. Following from the majestic peaks of her 2022 album Giving the World Away, “Lose It Again” once again serves as a pain reliever, soothing the listener with lush tones while livening them with another pure-hearted refrain. Gorgeous is an understatement. — P. Ragusa

Horse Jumper of Love — “Blue Factory Flame”

Run for Cover’s tribute compilation celebrating the work of Jason Molina — the creative mind behind Songs: Ohio and Magnolia Electric Co. — I Will Swim to You, drops today and includes previously released covers from folks like MJ Lenderman, Trace Mountains, Friendship, Lutalo, and more. Just prior to the release of the full project, the label shared Horse Jumper of Love’s take on the Didn’t It Rain cut “Blue Factory Flame.” In the hands of the slowcore experimentalists, the sparse and dejected tone of the original becomes thorny and jagged. There are tempo changes, wailing guitar lines soaked in reverb, and raw, strained lead vocals. It’s (blue) fire. — Jonah Krueger

SG Lewis — “Baby Blue” featuring Oliver Sim

Along with the release of his great new album Anemonia, SG Lewis has offered the standout cut “Baby Blue,” which features The xx’s Oliver Sim for a rather effervescent vocal performance. SG Lewis makes music for golden hour, like you can hear the warmth and light of the sun harmoniously meeting the revelry of night in real time. “Baby Blue” is exactly the kind of open-hearted, transcendent dance music he’s become known for, and just like his best collaborations — like “Heat” and “Hurting” — it’s endlessly replayable. — P. Ragusa

Shallowater — “Ativan”

Shallowater, one of our artists to watch in 2025, return today with their sophomore effort, the excellent (and excellently titled) God’s Gonna Give You a Million Dollars. The record is primarily made up of extended slowcore epics with a tinge of twang, and one of the most enthralling is the penultimate track “Ativan.” Extending almost to nine minutes in length, the tune boasts beautiful performances, an ever-compelling structure, and a grand payoff that rewards those patient enough to stick around for it. Come to think of it, those descriptions really could apply to just about the entire album. — J. Krueger

Softcult — “16/25”

After several years of standout EPs, Canadian rock duo Softcult (one of our 2025 artists to watch) have finally announced their debut album, When a Flower Doesn’t Grow, out in early 2026. They’ve shared the rollicking, furious “16/25,” an anthemic slice of shoegaze taking aim at predatory older men who groom younger women. “She doesn’t know how to love you,” they sing over pummeling drums, a line rendered less abstract each time they repeat it. “She’s 16, you’re 25.” Though cloaked in the warm haze of down-tuned guitars, that final lyric leaps out. She’s 16, you’re 25. Gross! — P. Ragusa

Sword II — “Even If It’s Just a Dream”

“Even If It’s Just a Dream,” the first single from Sword II’s recently announced new album Electric Hour, finds the Atlanta outfit embracing their dreamiest, most melodic tendencies. Over top acoustic chords and jangly electric lines, as well as synth arpeggios that wouldn’t sound all that out of place on a Beach House tune, the track is a shockingly warm and cozy affair — especially when juxtaposed with the angsty imagery of the music video. — J. Krueger