David Bowie celebrates 69 birthday with a new album. But it needed no excuse to celebrate the disc.
ALBUM: ROCK / JAZZ
David Bowie
“Black Star”
(Columbia / Sony)
In Norway Have been clear for some time: Rock music , at least one that is not closely related to a strikst defined subgenre, can no longer on their own. It needs help from jazz.
Last year’s best Norwegian rock plates – Møster !, Elephant9, Jaga Jazzist with more – was largely fusions of rock and jazz.
The trend has now reached David Bowie. Which therefore do not create trends anymore. But boy gets along which way the wind blows anyway.
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“Black Star,” which comes out the artist’s 69 birthday on January 8, has already earned a solid reputation as fairly koko. A total left turn into jazz or something strange, we believe the advance reports.
But we should not, and so it is not.
” Black Star “is melodic, rhythmic oriented music, most perfectly listenable for all but the most hardened musical middle-of-road pedestrians.
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New York saxophonist Donny McCaslin and his quartet puts a large, distinct mark on it. “Black Star” is full of ripping blowers.
But not Albert Ayler or Ornette Coleman, this here. The is a David Bowie-plate, and recognizable as such.
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About half of the material dare be known already. The title track has been available for a few months, and is a newfangled “Station To Station” (1976); two songs melded together into one, exactly in the middle.
The first of «two» is built on “glitchy” snare games, icy synth fanfares (albeit fairly timid to fanfares to be), McCaslin saxophone solo and Bowie singing double with themselves that there distanced, somewhat supercilious way of his, you know.
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Around four minutes marked switch it together and rises like a phoenix in a whole streit, pretty ballad melody, which David sings much, much warmer. Some – it was producer Tony Visconti (yeah, he is with) faith? – Have hinted that the song is about IS. It makes sense.
This “opinion” comes in handy. For otherwise it is hard to decipher the lyrics on this album. Especially without a body sheet at hand, and also because Bowie even the relate legend cementitious dumb day. Not that it should bother anyone.
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The aura is generally quite post-apocalyptic. Not in the breiale “Diamond Dogs” (1974) METHOD. Not quite Cormac McCarthy either. But the best moments here have a very vulnerability by itself. As if something is about to burst. The earth itself, for example.
“Lazarus” will also most interested become familiar with already. If it is it to say that it is a true beauty, simply one of the guy’s finest. A cool, swaying ballad with mood tight guitar string picking, clean drumming and an absolutely beautiful, simple saxophone figure. “Word On A Wing” meets “This Is Not America”. Nothing to dislike at such.
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“‘Tis Pity She Was A A Whore “is a remake of one single B-side from just over a year back. The post-rocking intensity has been toned down, actually – this rolls more “organic”, as it’s called. Bowie korer beautiful and unmistakable with themselves, while the main vocals extends into a fragile, sour falsettone.
MAJOR: David Bowie is no jester on his new album. Photo: SONY
“Sue (Or In A Season Of Crime)”, from the same single (and a compilation from 2014), is also revamped, with almost Motor Psycho -like results. Riff played on acoustic bass on the original, the dragged here on electric guitar. Both editions are remarkable. This is probably easier to like.
Static, march-like “Girl Loves Me” is the album’s most peculiar features, and the song that possibly reveals that Bowie heard on Kendrick Lamar (there is a point here that too much of today’s most ambitious hip hop has begun to borrow both Music and serious from jazz, it too).
The Ballad “Dollar Days,” which, like a couple of the other songs preceded by David scrolls text sheets and clears his throat, is a pretty ballad. The slivers lard off on fat bass playing and warm synth, and boasts a nykjemmet vocals. Bowie sings about old England’s green hills. Wonder if he’ll see them again. Concludes: “It’s nothing to me. It’s Nothing to see. “
The head right over the plate final and most conventional song,” I Can not Give Everything Away “. The thick curtains of synth player fairly standard chords while a harmonica piper longingly in the right stereo channel. Nice, but a little pale in comparison to what we have heard earlier. Although the vague whistle sounds lift it quite loud until last.
“Black Star” is experimental, but within reason and patience limits. There is no desperate or attention-hungry at it. It is not insistent artistic as the fussy ’1. Outside “(1995) was, and is, with its roughly 40 minutes, anything but overloaded.
It seems to be an album he wanted to make because he had it in himself, because it is there to create album he has dedicated his life.
“Black Star” is slightly more satisfying than “just” a good David Bowie album. It is a good and musically very interesting David Bowie album.
Thank you, thank you, kind Dave.
BEST SONG : “Lazarus”
MORTEN STÅLE NILSEN
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