Beck - Modern Guilt
July 3rd, 2008 | 5:30 pm est |
At first glance, it seems like the teaming of Beck and Dangermouse is a perfect pairing of post-modern pranksters, as neither musician has shaken the first impression they’ve made: for most, Beck is still seen as that ironic Loser, trawling through pop culture’s junkheap, while Danger Mouse is the maverick of The Grey Album, a mash-up of the Beatles and Jay-Z that reads like a joke but doesn’t play like one. Close listening to either man’s body of work easily dispels these notions, as Beck has spent as much time mining the murky melancholia of Mutations as he has crafting neon freakouts like Midnite Vultures. He’s made a career bouncing from one extreme to the other, occasionally revisiting the cut-n-paste collage that would have seemed like a natural fit for the sample-centric Danger Mouse, but when he partnered with Danger Mouse in 2008, Beck’s pendulum was swinging away from the Odelay aesthetic, as he spent two records on the lighter side, thereby dictating a turn toward the dark. As it happens, this is Danger Mouse’s true forte, as his productions have been almost uniformly dark, impressionistic pop-noir, whether he’s working with Damon Albarn on the Gorillaz or the Good, the Bad & the Queen, collaborating with Cee-Lo as Gnarls Barkley (whose fluke hit “Crazy” had nasty rumbling undercurrents), or even blues-rockers the Black Keys. So, he turns out to be a perfect fit for Beck, just perhaps not in the way that many might expect, although the title of their album Modern Guilt should be a big tip-off that these 10 tracks are hardly all sunshine and roses.
Compared to the waves of grief on Sea Change, Modern Guilt trips easily, as this is a deft tapestry of drum loops, tape splices, and chugging guitars pitched halfway between new wave and Sonic Youth. This may not brood but it’s impossible to deny its heaviness, either in its tone or its lyrics. Beck peppers Modern Guilt with allusions to jets, warheads, suicide, and all manners of modern maladies, and if the words don’t form coherent pictures, the lines that catch the ear create a vivid portrait of unease, a vibe that Danger Mouse mirrors with his densely wound yet spare production. As on his work with Albarn and the Black Keys, Danger Mouse doesn’t impose his own aesthetic as much as he finds a way to make it fit with Beck’s, so everything here feels familiar, whether it’s the swinging ’60s spy riff on “Gamma Ray,” the rangy blues on “Soul of Man,” the stiff shuffle of the title track, or the thick and gauzy “Chemitrails,” which hearkens back to the sluggish, narcotic psychedelia of Mutations. Danger Mouse assists not only on execution but on focus, pulling in Modern Guilt at just over a half an hour, which is frankly a relief after the unending sprawl of The Information and Guero. Leanness is one of the greatest attributes of Modern Guilt, as every song stays as long as it needs to, then lingers behind in memory, leaving behind a collection of echoes and impressions. If anything, Modern Guilt may be just a little bit too transient, as it doesn’t dig quite as deep as its subjects might suggest, but that’s also par for the course for both Beck and Danger Mouse: they tend to prefer feel to form. Here, they deliver enough substance and style to make Modern Guilt an effective dosage of 21st Century paranoia.
I haven’t been excited about a Beck album in a while (but enjoyed most of them) but Modern Guilt has me curious. Thanks for the well written review.
I agree with the above comment - Allmusic staff, great job on cutting through the BS and actually writing informative music criticism. Pitchfork, take note.
The close ties to Scientology ruined Beck for me I guess…
That’s an idiotic thing to say/ What has his religious preference got to do with anything. He doesn’t make a big deal about being a scientoligist and there is nothing in his music which alludes to it either
It may be idiotic, but it’s true. Knowing that Beck is a Scientologist taints everything he does and makes me lose respect for him. Call me shallow, but anyone who can believe in such nonsense (sorry, I call them like I see them)is not the person I thought they were. It’s like finding out John Lennon was secretly a Republican. Of course, the fact that his last few albums sucked might have something to do with it, too.
I don’t think people give Beck the credit he deserves for brilliantly carving out a long career from the very first album. My point? In an era where so many bands are pigeon holed into the cookie cutter mold of one distinct sound by the record companies, Beck came out of the gate playing so many different styles that he avoided the trap. Not only does he play a lot of different styles, but he’s good at it and always adds his own signature touch. Can’t wait for this new album. I’m an old school guy who grew up with the Beatles, Stones, etc. and he is truly one of most original artists of the last 15 years in my opinion. Side note: Thanks Allmusic.com for not only being one of the best music sites on the net, but one of the best sites period on the net. I rely a lot on your reviews and rarely am I steered wrong.
I too am excited about this new Beck album, additionally I too found it rather curious when I heard Beck was a Scientologist. However, for some people to get on a soap box about the mans believes and to question your knowledge of said individual is both preposterous and ignorant. How can you assume to know a person through their work? This falls into the new millennium concept of celebrity, where in people want to own a person. A “star” is no longer a living breathing human who makes choices but rather an object to covet and own. To these people i say grow-up and find your place in the world.
“It’s like finding out John Lennon was secretly a Republican.”
It’s actually not like that at all. Lennon’s ideology and philosophy was very much a part of his music. So if you found out he was “the man” or a “Republican” as you put it, you’d feel he was completely disingenuous every time you listened to Imagine.
Frankly, Beck’s music is not about his ideology. He’s a brilliant musician and his work is more of a sonic collage than anything else. Not to minimize his lyrics, but you’re not going to hear, “Get crazy with the cheeze wiz” and feel ripped off because he believes in Scientology.
We seem to be on the same page in one respect. It’s highly disappointing when you find out someone you respect believes in something you have no respect for. But neither of us has sat down with Beck and discussed his beliefs and found out why he chooses them and what he gets out of it. Frankly, I do not care to have that conversation anyway.
He hasn’t put any Scientology subtext in his music and neither should we. If you cannot listen to his music anymore because of this than you are as ignorant as you believe Beck to be.
Eric,
You make a good point about the difference between Lennon’s music and Beck’s music, and my analogy does miss the mark. The fact (which I alluded to) that his last couple of albums weren’t very good (in my opinion) probably has more to do with my disenchantment with Beck than finding out about his scientology.
Though that doesn’t help any.
“It’s like finding out John Lennon was secretly a Republican.”
What the…? So if Lennon favored less taxes, smaller government, and preserving capitalism you would lose respect for him?
there are some insightful comments on here 4 sure. its intersting to note how ’shocked dismayed, unable to enjoy the work of, etc’ those who claim such feelings would be if they found out beck was from any other religious bckground or currently an adherent of another religious bakground which would likely contin similar outlandish far reaching claims and potentially destructive elements along with whatever helpful attributes. same goes with the actions of the institutions themselves. so its always fair to discuss the merits and detriments of religion/ideology/culture etc but too be so selective as in this case seems 2 narrow and miguided. also what do u know exaxtly whathe draws from scientology?does every well rounded christian ignore love and focus on division and judgment?no. do they support the institutional criminality of covering up for peodophiles?no do they use thier beliefs as a vehicle for communal empowerment and self awareness?possibly
In my view he’s been in the wilderness creatively since releasing the stunning break-up album Sea Change and re-joining the Scientology cult. He used to be cutting edge and a musical trend setter now he’s following trends by working with Danger Mouse (The Black Keys, The Shortwave Set, Martina Topley-Bird etc.) the most obvious “name producer” in recent years.
Plus, I cannot seperate his music and what he says in interviews. He’s quite outspoken about the shallowness of our culture / times. That can be a little hard to swollow knowing about his private beliefs (pure science fiction nonsense, in my view.)
Well, now you guys are not even discussing the MUSIC, which is the only thing that’s important.
I am glad I have never been so close-minded as to dislike an artist, (a person I don’t personally know,) for their private life.
If they make music that thrills you, then ignore the politics and just dance to the Music!
Beck will be remembered for being an excellent songwriter, not his beliefs.
I’m worried that by listening to Beck I might become a scientologist. I know that all those Zepplin records made me a satanist for several years and now having recovered I have to deal with this!! By the way I thought his last two records were excellent but that might be due to the scientological messages that were placed in ear shot. Hope the new lp is just as good.Here’s to L.Ron Hubbub!
This is Beck’s most boring record. And that’s saying something.
“He used to be cutting edge and a musical trend setter now he’s following trends by working with Danger Mouse (The Black Keys, The Shortwave Set, Martina Topley-Bird etc.) the most obvious “name producer” in recent years.”
Nigel Godrich produced Mutations when he was the superhot producer of the day. And The Dust Brothers worked on Odelay after they were big on Paul’s Boutique. Danger Mouse doesn’t seem anywhere out of line with Beck’s career trajectory.
I don’t think it’s idiotic at all. I have also grown less interested in Beck since I’ve learned of his “religious” leanings. Not that I don’t listen to him from time to time, I’m just as “in” to him as I was once. To make an analogy besides the John Lennon one, I have completely given up watching or contributing in any way to anything pertaining to Mel Gibson. I know his movies don’t express hatred toward Jews (well, I guess one may have) but his personal beliefs are who he is and I’m not giving that guy a dime because of it.
That is to say I’m NOT as in to Beck. Leaving one word out makes a difference.
wow how stupid is all i have to say. this is the reason why there is problems in the world because people can’t just move past other peoples beliefs. Music is free. Saying you don’t like someone’s artwork because you do not agree with their religous beliefs is absolutely disgusting. Who are you to think your views are correct and someone else’s are not. If you people knew anything about meta physics you would understand there is no right and there is no wrong . Right and wrong are to the view of the perciever. How shallow of people to disregard great artwork because they decided to look into the personal life of the man making it. when in reality the great thing about music is not about who these people are it is about how they are helping you with thier music. what a twenty first century thing to do to not listen to someones music because you have delved to far into their personal lives. Anybody who wants to say something about becks music after this comment can say what ever they want but if you are that narrow minded maybe it’s you you should be taking a closer look at not becks personal life. the music is great i love the new album from what iv’e heard and im extremely excited.
I have always liked Beck’s music. Hell, I recently even bought “Mellow Gold” on CD to replace my old cassette. Beck’s beliefs (as well as Mel Gibson’s) have absolutely nothing to do with how I perceive their art. I still think “Sea Change” is a fantastic album and I still think “Braveheart” is an excellent movie. So if your (Henry G’s) comments were directed at me all, you’re a little off the mark. However, I can choose whether or not I wish to support whomever I please. To get a little ridiculous, Osama Bin Laden could release an album tomorrow (with Danger Mouse or not) and it may be the greatest album ever. But I wouldn’t know because I wouldn’t buy it. And that would be my choice. I never said anyone else’s views are incorrect.
And one more thing: Henry, I guess your comments may have been directed toward someone else, but if they were directed toward me, you’re just making the wrong arguments.
Danger Mouse is so yesterdays news, what’s Beck doing with him now? Gnarls Barkley’s second record is the flop album of 2008, right?
Back in 1998 Nigel Godrich was not the household name producer he is today, having worked with Travis, REM, McCartney, Pavement, Neil Finn, U2 et al. And Pauls Boutique is from 1989 and by the time Beck hooked up with them (1994-95) they were hardly hotshot name producers like Danger Mouse was a couple of years ago.
Back in 1998, Nigel Godrich was the buzzword. OK Computer MADE him. It’s his biggest success hands down. All of the artists you named hired him as a result of the success he garnered with that one album. The fact that Beck was one of the first to pick up that trend, before REM…McCartney….Pavement.. (and even Gnarls Barkley!) shows that he’s quick to work with the star talent of the day.
And yes, the new Gnarls Barkley is a flop. But it was Nigel who produced it. Danger Mouse is still riding the wave of success with The Good The Bad & The Queen, Gorillaz, the Black Keys, and possibly Beck??.
So it’s fair to say Danger Mouse is the Nigel of today and a fitting choice for Beck.
Stephen Thomas Erlewine is a hack. His reviews are littered with inaccuracy. When I see his name on a review of an album by an artist I like, I immediately feel disappointed, because I realise 9 times out of 10 it’ll be nonsense.
This one isn’t that bad. Well done Erlewine.
E-Rock, you’re proving my point. Beck was one of the first artists to work with Godrich post Ok Computer but hooking up with the seriously overrated Danger Mouse in 2008 is like Madonna working with Timberland: desperation.
All I’m saying, Loser, is that Beck did this 10 years ago, too. But I don’t think it’s desperation. Beck’s career trajectory doesn’t strike me as someone in need of a hit. He just does his thing. Sometimes it’s happy, sometimes it’s mellow, sometimes downright depressing.
Dave Egger’s interview with today’s teenagers in the liner notes of the Odelay Deluxe edition pretty much says that he is completely irrelevant to the kids of today. I don’t think Modern Guilt is making any attempt to change that.
You either like it or you don’t.
So, do any of you, having of course LISTENED to any of the new tracks, have a useful critical response to the music. Like … adjectives, descriptors of style, tempo, feel, lyrical quality … anything??
Additionally, Beck has always been a weirdo. That’s part of his charm and alot of what makes him salable. He’s an artist!! Has anyone taken a deeper look at Dali’s personal beliefs? How aboout Vincent Van Gogh? Edgar Allen Poe? etc. Gonna stop reading “The Raven”, or enjoying “Starry Nights” now? Seriously.
Wow, I hope he decides to come back to Nashville to promote the new album so I can pay a lot of money to see him play an hour again. Oh but not to worry he will probably end the show early so that he can go straight to the next door bar and play an unannounced free show while all of the dumbasses that paid leave disappointed. Good way to ruin a fan base if you ask me- I will probably check out the new album but it better be damn good because Beck and I are on the outs. I definitely will never pay to see a Beck show again!
I love Beck’s music. It has meant a great deal to me over the years and I could at one point say that I felt a deep connection to the man (through his music). But if you don’t realize that there is Scientologist imagery all over his past two albums (modern guilt and the information), then you simply have not investigated the very basics of the religion. I feel like the man who made the first four albums was a person having a crisis of faith (or at least taking a holiday from a belief system)- this is part of the reason why I enjoy them so much. But the fact of the matter is that Beck was born into Scientology, and when it came time to settle down, he married another person who was raised in the religion. In light of the fact that he was raised Scientologist (so arguably, it was not his choice), and because I have been a loyal fan since Mellow Gold, I am willing to look past his “beliefs”, and remember that many great artists have let their religion spill over into their work (Dylan, Van Morrison, etc.). But, Beck - I say this because I care - religion is making you boring.
Scientologist a religion - I thought it was a cult invented by a former sci-fi writer to make money?
Hey Frank,
Care to give those of us who “simply have not investigated the very basics of the religion”, some examples of Scientology in Beck’s last two albums?
E-Rock, Stylus did that:
http://www.stylusmagazine.com/feature.php?ID=1710
Dennis,
I meant in terms of the music not the cover art. That article points out that he thanks his scientology friends. Why wouldn’t he? That some of the artwork might reference scientology?
Heck, i did that artwork for The Information. As far as gimmicks go, that was a good one.
Musicially, which is what we care about, where does scientology come into play?
At this point in time in his career, with the current level of fan-based scrutiny, Beck naming the last song on his album “Volcano” is the equivalent of Tom Cruise being in a movie that takes place on a DC-8 airplane. Anybody else think that “Girl” is inspired by the Scientologist detoxification process? “heyyy, my sauna girl”? Maybe there’s a reason that mystery word didn’t make it into the lyric sheet. Read the Times article - the reason he’s so afraid to use “off the sleeve” lyrics these days is because he’s scared he might put-off more of his fanbase by hinting at what’s really on his mind.
I’m jumping in late here, but a note for greensleeves, i thought it had become generally agreeable that the mystery word on “Girl” is ’sun-eyed’ that or ‘cyanide’?
anywhoo if you’re interested… I also wrote a review for ‘Modern Guilt’ and got into cover art analysis and why this album might be a middle finger to the industry(comment for a shot @ a free copy of the album):
http://blog.ourstage.com/2008/07/15/things-beck-left-behind-a-review-of-becks-new-album-modern-guilt/
The summation of Modern Guilt being “an effective dosage of 21st century paranoia” is a comment by someone who obviously doesn’t take the current state of world seriously. Beck’s compilation is not about a kind of paranoia; it’s an appropriate reaction to what we are starting to realize - that humans and the way we have constructed our societies have consequences that we cannot control or abate. At least not without discomfort and sacrifice. In terms of the large-scale problems of overpopulation and global climate change, we are running out of time, and quickly. Yet we do not DO anything. We all continue to live our lives the way we’re used to, because it’s simply too much of an imposition to do the right thing for the larger good. And those with more power are the same way, just with more expensive interests.
None of this is really new. Maybe to some it still is. But not enough people really feel the appropriate reaction that Beck displays in his album. Unfortunately, a closer look at the world we’ve created in spite of the earth is rather dismal.
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