If there is one thing Beck Hansen had this past Tuesday, it was a reason to celebrate.
Not only did the singer-songwriter turn 38 years old, but his eighth studio album, Modern Guilt, hit stores. And if wisdom truly does follow age, then it is no accident Beck’s latest should arrive as the artist steps closer toward middle age – the fittingly titled album is possibly Beck’s most thoughtful, introverted effort yet.
Since breaking onto the alternative rock scene in the mid-1990s with singles such as “Loser” and “Devils Haircut,” Beck has gained widespread recognition as one of the most innovative artists of the past two decades. Nearly two years since he released The Information, Beck returns with the 10-track Modern Guilt, stressing quality over quantity on an album clocking in at a brisk 33 minutes.
Modern Guilt, on which Beck collaborated with producer Danger Mouse, carries the tinge of 1960s British rock, resonating strongly with the sound of The Beatles and early Pink Floyd. Not so much a drastic departure from his previous albums as it is a retooling of emphasis, Modern Guilt is at its best when Beck highlights his psychedelic rock influences in the singles “Chemtrails” and “Gamma Ray.”
Known less for the range of his pipes than for the creativity of his style, Beck brings a welcome change of pace with the slow, choir-like vocals on “Chemtrails.” The more upbeat “Gamma Ray” has the sort of appealing hook that made recent Beck singles, like “Girl” and “Nausea,” successful.
Serving as the album’s second track, “Gamma Ray” also introduces Beck’s political musings, as he references global warming while singing, “Trying to hold hold out for now/ With these ice caps melting down/ With the transistor sound/ And my Chevrolet terraplane going round round round.”
Beck’s trademarked synthetic melodies shine in the tracks “Replica,” where he meshes together offbeat rhythms to create an oddly appeasing tune, and “Youthless.” But even though his electronic touch is present throughout the album, it never becomes an overwhelming facet. Achieving such a stylistic balance is largely why Beck is such a master of his craft. His music may teeter toward collapsing beneath its own weight, but he never actually lets it happen.
With Modern Guilt, Beck penned lyrics that constantly cross between provocative social criticism and meticulous introspection. Beck hints at anti-war feelings while singing during “Youthless” about “a plastic hand grenade/ That tried to turn emotion into noise.”
But listeners will probably take more note of his moodier, more personal side, explored most obviously in Modern Guilt’s title track. “Modern guilt, I’m stranded with nothing/ Modern guilt, I’m under lock and key/ Misapprehension turning into convention/ Don’t know what I’ve done/ But I feel ashamed,” Beck sings.
Beck further delves into his conscience with “Walls,” the sleeper standout of the album. Soothing strings are complemented by a harmonizing drum beat and catchy verses, during which Beck mulls, “See a face into the mirror/ Reflecting on the surface of fear/ Because you know I’m never better than that/ Some days are worse than you can imagine/ How am I supposed to live with that?”
Some may dispute that Modern Guilt borders on self-indulgence, and there may be some merit to that argument. But the beauty with Beck is even if he is making the music for himself, he can still draw you in with his imaginative instincts. And with 20 years of experience and eight albums on his resumé, Beck has proven his instincts are worth following.
tfloyd1@umd.edu
