Modern Guilt - Beck Album Review

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Album Review

Birthday release for Beck’s 8th album.

Beck Hansen has a reputation for being different. Modern Guilt is no exception as delves into psych-rock and psych-electronica. Co-produced by Gnarls Barkley main-man Brian Burton, aka Danger Mouse, it’s loaded with ‘magpied’ influences that loop Hip Hop and Country-Rock grooves together with the psych effects. Also, Cat Power is guest vocalist on two songs, not that you’d notice. His career highpoint was Odelay twelve years ago (was it really that long ago?), and to be truthful he’s only come close once, Guero in 2005. There’s no doubt that Beck is an acquired taste, and for those who’ve crossed his path before, things are still the same in 2008. The apparent root musical references are Prog Rock and Psychedelia, but you never get the feeling he’s truly understood their meaning: empirical evidence is here for all to hear.

Led Zep, Pink Floyd and Yes were the leading lights of the genre. Admittedly, very different stylings, all playing, and leading the way. Psychedelia’s purveyors were Jefferson Airplane, The Doors, The Byrds, Hawkwind, and again, Pink Floyd. On a more commercial level The Beatles’ Revolver and Sgt.Peppers. There are certain key elements to both, with none, of a significant meaning, found here. Another problem is that producer del Dia, Danger Mouse, has maybe too much input. There moments when this could be Gnarls Barkley without vocal maestro Cee Lo. When Modern Guilt is good, it’s very good. When it’s not…, well you know what I mean. Most of it isn’t I’m afraid. The funky groove is here from the off with Orphans. After the thumping opening sequence it stutters along with shades of CSNY hovering in the background, though it’s nothing remarkable. Gamma Ray has an infectious surf beat riff, and G-B (maybe B-52s) immediately comes to mind. It’s pretty basic stuff.

Beck’s originality emerges on spacey Chemtrails, a song about aeroplane vapours doing climate damage. Midway, there’s thunderous rippling drumming, creating an ominous sound. Foot tapping Modern Guilt is catchy, quite good considering its message: isolation. Youthless promises much after the funky groove and techno drop-ins but fails to take off. Walls is a clattering mish-mash. Messy Replica should have been dropped – totally pointless. The next two – Soul Of A Man and Profanity Prayers are equally forgettable. As much as he tries to impress on the finale, Volcano limps out on drifting soundscapes, lacking any creativity, particularly from that man again, Danger Mouse.

File under: Disappointing.

Elly Roberts