Let’s face it; Beck needed a return to form. His last two long players ("Guerolito" and "The Information") were cursed with so many weighty inconsistencies that even the most loyal followers must have questioned his wisdom. Fortunately, owing to his immense chameleonic abilities, one knew Hansen wouldn’t stand still for long. The Danger Mouse produced "Modern Guilt" is his most conventional, melody driven recording since 2002’s outstanding "Sea Change", discarding the scattergun straddling genre experimentation at all costs in favour of a short, focused set of psychedelic Rock and Pop that may not be his best, but has genuinely halted the slide towards mediocrity that had dogged his recent works. At the heart of the record lies trademark minor key synth progressions, scratchy rhythms and Beck’s typically downcast lyrical melancholia. Danger Mouse adds his own brand of 60s tinny beat pop that served so well on his Gnarls Barkley projects. The opener ("Orphans"), takes the melody from Free’s 70s hit "Wishing Well", and with authentic artistic creativity, genuinely sounds like the 60s fore runner it aspires to be.
The real star of the show is the spacious psyche rocker and lead off single "Chemtrails", which drifts along with the kind of sparse beauty you’d have expected from a Nigel Godrich collaboration, its sombre atmospherics superbly enlivened by Joey Waronker’s outstanding drum accompaniment. Apparently inspired by Aphrodite’s Child’s 1972 prog rock song "The Four Horsemen", from the vast concept album "666", the song reminds the listener that at his best, Beck is still an illuminating talent. "Gamma Ray", the second track and follow up single, harnesses tried and tested dualities of upbeat music and dark lyrics, as he ambiguously rambles of ecological disaster and Armageddon played out over a thudding bass rhythm and chiming keyboard fill. In addition, there are memorable moments from the more personal closer "Volcano", and the title track.
There’s little for Beck fans to worry about, because "Modern Guilt" provides ample proof that he’s not lost his creative ‘mojo’. It’s more defined, carefully crafted, and ultimately the most complete listening experience since "Sea Change".
7/10
"Orphans"
My Trusted MOGs
Great write up, I feel the same way about his last two releases. I have not given this one a spin but will do so soon
My Trusted MOGs
Nice review. I felt the same way and smelled the "Sea Change" a mile away on the new record.
My Trusted MOGs
Bob Dylan taught the world that if you're going to write a bunch of nonsense lyrics, you'd better sing'em like you mean'em. "Loser" meant so much as a song only because Beck put so much conviction behind every word. In recent years his lyrics remain fanciful and enigmatic, but he just shrugs them onto the record.
I'll go against the grain and add that Danger Mouse actually detracts from this record. He's a great producer, but he's getting increasingly fiddly and distracted. At least The Information had a groove running through it. On "Modern Guilt" it sounds like there's always a couple extra percussionists in the room who won't sit still.
My Trusted MOGs
Good Review, however Guerolito is an album of Gureo remixes so it's nothing new. I too agree Chemtrails is an excellent song. I must say I'm a much bigger fan of 90's Beck than 80's Beck. Sea Change, Guero, and Modern Guilt are in constant rotation.
My Trusted MOGs
Kiddoh - See the slide started for me with "Guero" which was just OK by Beck standards but not what we'd come to expect. The new one is definitely worth a spin.
Roxanne - "Sea Change" happens to be one of my all time favourite sad songs album.
Aphriza - Good point well made. I happen to think that the songs that have strictly organic drums on this album (e.g. "Chemtrails") are the ones that stand out most. Other than "Sea Change" I don't think Beck's ever sung about anything but fluff, but as you say he mainly sings with conviction.
Breathin's Great - You're right it was a remix album but it was still an official album release. God knows who persuaded him to remix songs that weren't even that good in the first place.
My Trusted MOGs
With the exception of 2 or 3 songs the remixes are lacking for sure. But I do love Guero. But I like the more serious songwriting of Beck's 2000 releases then the gimmicky releases of the 90's....which I mistaken but as 90's and 80's above.
My Trusted MOGs
I'm one of those who will have to disagree; I have found "Modern Guilt" to be pretty much a disappintment. It just does not grab me in any significant way so far. Beck has said he wanted to do "10 songs, 30 minutes, no fat on this record" well one needs a little fat in one's diet to be healthy ;-) This record is much too lean for me; it is over much too fast and seems to have too little content compared to Beck's other records. Danger Mouse was an interesting choice for producer, but I'm not sure the combination is entirely successful.
And I enjoyed "Guero". "Guerolito" and The "Information", though "The Information" required some effort to absorb. I like music that requires some effort to reach. I don't think Beck needed to "return" to anything; he was doing fine by me. If anything I think perhaps he over-reacted to the criticisms of "The Information" being too long and made a record that is too short to make a lasting impression with this fan (me). I'm sorry (really) but this record has failed to make a dent in my consciousness the way his last few albums have done.
And a disappointing Beck record is still miles above just about every other artist out there. I admire his prolific output and work ethic and I know he's not done yet, though it may be time to take a break and re-charge creatively, now that his contract with Interscope is fulfilled.