It's always a well-anticipated celebration when a new Beck album is
released. In terms of comparison, I think many of us feel the same way about a
new Beck album as we do about a new Radiohead album. We are certain that we are
in for a treat, and we know that we will be exploring shining new areas of
musical exploration. And, once again, Beck doesn't disappoint.
It has been six years since Beck released his last album, Modern Guilt (2008). In the interval,
the so-called original 90s slacker musician explored a number of other musical
projects.
In 2009, he began Record Club,
a project to cover an entire classic album by another artist in one day (The Velvet Underground, Leonard Cohen,
INXS, Yanni), using an informal
and fluid collective of peer musicians. The covered
performances were video recorded and then posted on Beck's website.
In 2012, he released Song Reader, a work of 20 original songs presented
only as sheet music, in the hopes that enterprising musicians will record their
own versions. If you go on Youtube you can find various performances of each of
these songs by various musicians.
He also wrote a few songs for soundtracks, collaborated with other
musicians, and produced a few albums for others, most notably the Charlotte
Gainsbourg's IRM (2009). Here is an
album for which Beck produced, wrote every song (except one cover), played on
every song, and sang on a few of them. Apart from Charlotte Gainsbourg's vocals
and name and picture on the cover, what keeps this record from being considered
a regular Beck album?
So what comes after a much too
long gap in between records is Beck's glorious Morning Phase.
According to press releases and other promos, Morning Phase is
to be considered a "companion piece" to his 2002 album Sea Change. The comparison is accurate
and everyone who listens to the new work will see the affinities. As is
generally known, half of Beck's oeuvre is dedicated to more acoustic-based
albums (see One Foot In the Grave
[1994], Mutations [1998], Sea Change [2002]) on which he often
overlays lush orchestrations, dense layers, and his own distinctive sounds.
Such albums are often more melodic and uniform than his alternative-hip-hop-focused
work with the Dust Brothers as producers (Odelay
[1996], Midnite
Vultures [1999], Guero [2005]).
Both Mutations and Sea Change were produced by famed
Radiohead producer, Nigel Godrich.
Morning Phase falls within
this acoustic-based category and includes much of the harmonies, immersive
orchestrations, and the melancholic and introspective tones that were so
distinctive on Sea Change.
Sea Change is a more
distinctive album and is usually the album most liked by people who either do
not like Beck or are suspicious of his talent. This album was a worthy
successor to the surprisingly good Mutations
but came jarringly after the tongue-in-cheek Midnite Vultures.
Sea Change came across as
more of a concept album delving into the break-up of a relationship. The ironic
lyrics of his previous albums were replaced by more sincere, simpler lyrical
content. Again, a far deeper and sad Beck than we had seen before. A very
sub-surface melancholy that drew inspiration from Nick Drake, Bob Dylan's Blood on the Tracks, and Serge
Gainsbourg (listen to the strong
affinities between "Paper Tiger" and Histoire de Melody Nelson).
While I do not think that the songs on Morning Phase are as strong as some of the ones on Sea Change ("The Golden Age",
"Paper Tiger", "Already Dead"), the overall work is far
more satisfying. There is an even stronger uniformity and thematic wholeness. This
is a concept album, but one returning to semi-familiar territory.
In an article for Rolling Stone, David Fricke wrote the following about
his interview with Beck:
"But Beck is loathe to use the word
"sequel" to characterize Morning Phase.
'It was going back to the same place,' he says, 'and seeing where we're all at,
like those Seven Up! movies, where they go
back and see those people every seven years.'"
In Morning Phase, Beck is
returning to the broken relationship of Sea
Change to see what remains and to see if the small light still glowing has
any chance of growing. He seems to want to take us on a personal, deep journey
of inspecting the shipwreck of a relationship to see if anything can be
salvaged, invoking strong images of water, light and turning. I'm reminded of
similar tonal explorations with The Moody Blues (Days of Future Passed) and, to a lesser extent, The Who (Quadrophenia). Again, comparisons with
Nick Drake, Serge Gainsbourg and 70s Bob Dylan emerge.
Not surprisingly, given this thematic material, there is far more
uncertainty here than there was in Sea
Change.
Here are my thoughts and analysis of the songs:
"Cycle",
"Morning"
The short intro, "Cycle", followed
by "Morning," open the work and immediately set the tone. "Cycle"
gives us inundating waves of orchestration. It is just a short string piece,
symbolic of the swell of the morning, the rise of the sun, yet again, the cycle
of day and night. It soon flows into the daybreak of "Morning", a
song that expresses the hope and possibility that a once shattered relationship
can be revived. The tone is that of
daybreak and the first rays of light. The song itself recalls "The Golden
Age", the first track of Sea Change.
If that song is about realizing you need to start over (but being unable to
even try), "Morning" more or less covers the same idea, but instead
of looking forward at an unknown road, wondering how to get there, it looks
backwards and realizes, I may have just survived (and am all the wiser for it).
Those distant lights he could not locate in "The Golden Age" seem to
have been found in the first lines of "Morning."
The lyrics read:
"Woke up this morning, found a love
light in the storm
Looked up this morning, saw the roses full of thorns
Guns are falling, they don't have nowhere to go
Oceans of diamonds always shine, smooth out below"
These are images of morning, light, and water - images that will pervade
the entire work.
"Heart is a Drum"
"Heart is a Drum" reminds me both of solo Tom Petty (Full Moon Fever, Wildflowers) and some of the more poetic moments of Adore-era Smashing Pumpkins.
The water imagery continues with lyrics such as "Everyone, if they drown from the undertow" and "'Til all
my days are drowning out".
"Say Goodbye"
In his review, Will Hermes of Rolling Stone Magazine noted that
"Country Down" was reminiscent of Harvest-era
Neil Young. I can just barely see that, but I think the similarities are more
evident here on "Say Goodbye".
"Blue Moon"
"Blue Moon" is the first single
released for the album. It's a good song with more water imagery ("Songbird
calling across the water") and a "turning" reference ("See
the turncoat on his knees
A vagabond that no one sees"). For some reason or other, Beck has likes to
use the word "vagabond" in his lyrics (also
"convalescence").
There is, of course, a very famous song called "Blue Moon,"
one of Elvis' biggest and earliest hits. It includes the lines "Blue moon
/ you saw me standing alone" and clearly uses the rare event of a blue
moon to symbolize the rare event of finding love. Beck uses a line or two as a
jumping point for his own song ("I'm so tired of being alone").
"Blue Moon"'s music infuses the dark themes with a bit of
hope, the chirpy clavinet and gorgeous vocal harmonies bringing some uplift to
its lonesome lyrics. The song is about feeling trapped, and a longing to be
saved.
"Unforgiven"
Rolling Stone, having heard a preview, compared the song to Gram
Parsons and David Crosby.
"Wave"
The strings from "Cycle" resurface in "Wave"
reinforcing the thematic unity of the work. The song has the orchestrations
that reminds one of Radiohead's Kid A
(no Nigel Godrich here, though) or a Bjork album. But the lyrics and wave
imagery hearken back to Sea Change.
"If I surrender and I don't fight this
wave/No I won't go under/I'll only get carried away".
"Don't Let It Go"
One of the three best songs on the album.
"Blackbird Chain"
"Blackbird Chain" seems to come straight out of Mutations-era Beck and naturally finds
its place within the work. The music does mix different sounds into an
essentially country form, including a very soulful bassline and subtle strings.
"Phase"
Another instrumental piece that continues the orchestrations from
"Cycle" and "Wave".
"Turn away"
"Turn Away" continues the theme of the light that signifies
the hope of a renewed relationship. Vocally, it sounds like Beck singing with
himself. Personally, I found it to be too repetitious and jarring. I think it
is the weakest song on the album. The orchestration is nice. Too much Simon and
Garfunkle.
Lyrically, though, it fits right in with some of the light and, of
course, "turning" themes of the album.
"Hold hold the light
That fixes you in time
Keeps you under
Takes you over the wall
That love divides between waking and slumber
Turn away"
"Country Down"
"Country Down" is a Dylan-esque song full of water imagery of
rivers, floods, undertows, and waves. "Turning" references abound.
There is also this striking lyric combining both water and "turning"
images:
"All along the floodline/Waves are
turning around"
It is evident that in both Sea
Change and here in Morning Phase,
Beck associates water imagery with relationship. It is also evident that Beck's
lyrics reach out for that desire to return that relationship to its former
state.
This song, along with "Blackbird Chain" and "Waking
Light", came out of Beck's Nashville recording sessions for what was
originally to be a fairly traditional
country album. He never was fully satisfied with the results, and ended up
shelving it, but he did keep 3-4 of the songs and brought them to the Morning
Phase sessions a few years later.
"Waking
Light"
The album ends with another aching morning
song, "Waking Light."
Rolling Stone refers to the song's "Leslie-guitar crescendo,"
which reminds them of George Harrison's guitar solo on "Let It Be."
I'm sure there is more to explore in this album than I've already
indicated. I suspect that Beck may have also continued the "road"
theme from Sea Change on this album.
More exploration needed.
The title of the album is a slight pun: "Morning Phase" and
"Mourning Phase". It is a time of mourning over a failed relationship
but also considerations of whether return is possible and whether anything that
remains can be salvaged and rebuilt.
I enjoyed almost every song on this album ("Say Goodbye",
"Don't Let Go", and "Blackbird Chain" being the highlights)
and found that I could listen to the entire work in one sitting and do so
repeatedly. This only enhanced my appreciation for the conceptual unity of the
work. The only song that I did not care much for was "Turn Away", for
reasons stated above.
I think that this is probably the best Beck album since Mutations, one
of my top three favorite Beck albums and once one of my top ten favorite albums
until it was pushed out by Danielson's Ships
(both Mellow Gold and Odelay remain in my top ten). I also think it signals that Beck has reached a new level of artistic maturity, and I look forward to what I suspect in several years will be the third part of a Sea Change-Morning Phase-X Trilogy.