The worlds of Australian psychedelic rock and global K-pop converged this Friday as Tame Impala released a high-energy remix of the hit single “Dracula,” featuring JENNIE of BLACKPINK. This unexpected pairing unites Kevin Parker’s signature synth-heavy production with the rhythmic flair of one of South Korea’s most influential soloists.
A Narrative Shift
The remix breathes new life into the original track, which first appeared on Tame Impala’s 2025 studio album, Deadbeat. While the foundation remains a disco-infused electropop anthem, JENNIE’s presence alters the song’s DNA. In a playful nod to the original lyrics, JENNIE replaces the reference to “Kevin” with her own name, singing, “My friends are saying, ‘Shut up, Jennie, just get in the car.’”
Beyond vocal harmonies, JENNIE contributes a brand-new verse. Her lyrics—“Hey, Kevin, what’s up? / Come pull up in my spot”—establish a direct dialogue with Parker, further cementing the collaborative nature of the project.
Strategic Crossover
This release serves as a strategic milestone for both artists. For JENNIE, the collaboration expands her international solo portfolio under her independent label, Odd Atelier. For Kevin Parker, the remix leverages the massive reach of the K-pop community to propel an already successful track to new heights.
The original version of “Dracula” previously secured Tame Impala’s first-ever entry on the Billboard Hot 100, peaking at number 30. By merging Parker’s dreamy, distorted textures with JENNIE’s crisp vocal delivery, the remix aims to solidify the track’s status as a global chart mainstay.
The Road to Release
Fans anticipated the drop following a series of calculated teasers. Parker recently sparked social media rumors by wearing JENNIE’s official merchandise in public, while subtle edits to the original YouTube description hinted at the impending update.
The “Dracula” remix is currently available on all major streaming platforms, accompanied by a new lyric video on YouTube. This collaboration underscores a growing trend of genre-defying partnerships, proving that the boundary between indie-rock experimentation and mainstream pop continues to dissolve.