As midsummer on July 24, the longest day of the year in the Northern Hemisphere, came to close, Tame Impala dropped a brand new single, titled “End of Summer,” on July 25 — their first new material since The Slow Rush in 2020. Kevin Parker, the band’s lone architect, has spent more than a decade shaping a slick, deliberate take on the psychedelic rock genre, beginning with Innerspeaker in 2010, then Lonerism in 2012, and the breakthrough Currents in 2015. The latter turned a decade old this July, a reminder of how slowly Parker tends to work and how carefully he calibrates his sound.
Through it all, Parker has built a catalog of lush, controlled anthems. Singles like “Sundown Syndrome,” “Feels Like We Only Go Backwards,” and “The Less I Know the Better” remain his most immediate work. But on “End of Summer,” Tame Impala inches toward a club-oriented lane — not with a bold reinvention, but with a polished surface-level gesture.
The seven-minute single opens with a straight four-on-the-floor rhythm, layering kicks, hi-hats, and dry synth pulses before introducing Parker’s airy vocals halfway through. “I could not deny it / it was overwhelming,” he sings, letting the line drift over bass loops, pitched vocals, and clipped melodies. The beat pulses forward, but there’s little surprise across the track’s runtime. The track borrows from outsider house’s raw, analog-like instrumentation, while hinting at deep house’s repetitive hypnosis and rave’s linear build. Still, it stops short of full immersion. No breakdown, elevation, or escalation; just a groove that lingers under a haze of melody and memory.
It’s not the first time Parker has flirted with dance music. “Let It Happen” and “Borderline” hinted at the same rhythmic instincts, pulling his psychedelic production closer to disco and funk. But “End of Summer” flattens that drama. It moves, but without tension. It references club music without fully stepping inside it.
There’s no clear statement from Parker on the shift, but his recent remix work and DJ sets — along with collaborations with artists like The Streets and Lil Yachty — suggest he’s circling more beat-forward formats. With that said, if we compare him to acts like Jamie xx or even Radiohead’s Thom Yorke — both of whom have used electronic structures to unlock new creative muscle — “End of Summer” feels more like a change in texture than in voice.
“End of Summer” isn’t a bad track, just not a risky one. For Parker, it’s another lateral step in a career already defined by patience. As a mood piece, it delivers a light, looping soundtrack for whatever summer means this year. But the thrill of discovery that once defined Tame Impala isn’t quite here.
