Beck - 'Modern Guilt' (XL) Released 07/07/08

Beck Hanson, known for his pop art collage musical style and oblique lyrics, mashed with post-modern arrangements of sampling, sound effects and electronic drum machines returns with his eighth studio album. This new offering holds no different perception of the act that critics have previously hailed as being the most idiosyncratic artists of 1990's and 2000's alternative rock. 'Modern Guilt' is the first new material Beck has written since the prolific stretch that produced 2005's 'Guero' and 2006's 'The Information'. Containing 10 new songs which includes the Grammy nominated, digital only single, 'Timebomb', the album as you would expect is a tightly assembled group of songs that range in lyrical tone from introspection and social commentary, to off the cuff wordplay and light-hearted humour. 

Musically, the album vacillates between economy and expirementation, while consitently reconfirming Beck and Danger Mouse's shared interest in psych-rock, folk, electronic minimalism and orchestration. Released in the UK by XL after his deal with Interscope expired, Beck sees himself on an independent label for the first time in 15 years. Although its hard to imagine that Beck compromised with his artistic vision in the past, he is relishing his new found freedom by recruiting the very fashionable producer, Danger Mouse, known for producing albums by the likes of the Black Keys and The Good, The Bad and The Queen.

Opening with 'Orphans', with its throbbing bass and electronic drums the song features luscious backing from Chan Marshall, better known as Cat Power, who breathes a cool wind through Beck's whacky lyrics, "... If I wake up and see my maker coming/With all of his crimson and his iron desire/We'll drag the streets with the baggage of longing to be loved or destroyed/From a void to a grain of sand in your hand..." The track has flourishes of psychedelic guitar, which along with the dirty drums the opener takes you back to Beck’s 'Odeley' days. Leading seamlessly into 'Gamma Ray' which has a distinct poppy feel, and has Danger Mouse written all over it, showing comparisons to his work on Gnarls Barkley’s latest album. The vocals swoop in and out as Beck sings ". Come On little Gamma Ray, your standing in a hurricane...”

Dropping the pace with 'Chemtrails', showing many similarities to The Beta Band and The Flaming Lips, with intense drums, minimalist piano and floaty guitar. 'Chemtrails' really allows you to feel that Beck is holding the reigns on the track with dreamy vocal arrangements, almost phantasmagoric, which really strike through over the beats. Cat Power joins Mr Hanson on 'Walls' with vocals that are to be honest, barely noted, blink and you'd miss it, however with its unmistakable hip-hop style beats the song may well be a future single.

Tracks such as 'Soul of Man' sees the punk/rock side to Beck that we are most defiantly familiar with, full bodied guitar riffs lift the pace of the album to newer levels, a tune to make the Rolling Stones proud. Closing the short record (33 minutes to be precise), 'Volcano' is a melancholic ballad that bears resemblance to his 'Sea Changes' album. “..I’ve been drifting on this wave so long/I don’t know if it’s already crashed on the shore...” Beck croaks as the song unfolds into one of the most beautiful song that he's produced since 'Sea Changes'. The song shows comparisons to the likes of the late Elliot Smith making the end of the record come all to soon. 

Beck uses playful intelligence to entice his listener, and although this may not be his finest album to date, it grabs you and pulls you in all the same. Danger Mouse's production may be evident throughout this record, however this is first and foremost a Beck record and after seven previously successful albums its fair to say his way is best.