They say Blackstar , the new album David Bowie released on January 8, arguably the fourth chapter of his Berlin trilogy, probably by a clearly experimental effort that has led him, as the name suggests, outside this galaxy … again.
One listen is not enough to grasp all the worlds within the twenty-fifth studio album by British, although it is true that the enormous intensity of this musical exercise that raises questions It is suitable to string reproductions.
is not Blackstar A frugal disk and finish oozes quality not without humor, as if Bowie had given vent to her naughty mood after satisfying the public’s taste with more conventional The next day (2013), expected and praised return to music after ten years without new material.
No matter how careful you have been in its development, the London genius shows signs here of playful exercise are not taken too seriously or at least not losing the pulse with provocative titles like ‘Tis a pity she was a whore (“it’s a shame to be a whore” in Spanish).
His courage is doubly remarkable because, at age 68 and after 24 discs that reinvented several times the history of popular music still has the desire to investigate and beyond.
In this case the feat is, first, to incorporate a quartet of jazz to rock and not sound mellow at 98 percent of its size and on the other, that the incorporation of many elements to the main melodic line not sound chaotic, but disturbing.
The saxophone Donny McCaslin, known for making electronic versions of music artists like Aphex Twin, has almost as protagonist as the voice of Bowie role, but far from smooth musical collusion, it is essential to emphasize dementia, boredom or decay that transmit songs.
A production, how no, Tony Visconti, with whom Bowie Building 7 cuts long as seven cathedrals, some of which, like the opening Blackstar, first single, seems actually constituted by two songs in his nearly ten minutes long.
The video was no less shocking. A skeleton embedded in an astronaut suit lands on a desert and red landscape, only fertile ground for the mutated and thrive for a dark church that preaches Bowie.
Although perhaps this simple exercise is more crazy and overflowing with whole repertoire, music and image give a true picture of the whole.
The cry of “Lazarus “, the second single and third cut in the disk order Following that “‘Tis a pity she was a whore” , is more accessible to the listener, with its heavy and plaintive sax.
It contrasts with the speed that makes the battery in the next topic, “Sue (or in a season of crime)” , Bowie and published in 2014 and tells of a relationship doomed to a bad end, in what seems an accelerated and obsessive search after the protagonist of the title.
“Girl loves me” a typical child song resembles, especially by the voice of Bowie, who assumes that role from an almost psychotic perspective, with a church choir and string section that reinforce the climate of mystery.
The driest has passed. The piano is boss in “Dollar Days” , which makes this the most gloomy court and a small shelter for wild previous passages, spinning with the initial harmonic of “I can not give everything away, “with a strong shot after a drum machine line voice, without its package of bitterness could have sung a ‘crooner”.
From its comprehensive listening, the question of whether there is only ” Blackstar “contains pieces uniquely able to transcend the collective imagination with gems like ” Heroes “The man who sold the world” or “Life on Mars” , although level Global amply satisfies the palate, the taste would leave the soundtrack to an imaginary remake of “Blade Runner” by David Lynch.
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