Talk about a confounding chronology. Following the 1999 release of
Midnite Vultures, Beck was quick to volunteer
that it, and not 1998's acoustic offering,
Mutations, was intended as the true follow-up to his 1996 smash,
Odelay.
Now, three years later, comes
Sea Change, the long-awaited follow-up to -- you guessed it --
Mutations.
Not that yet another bold change of direction should surprise fans who have been following the eclectic singer/songwriter
since his stunning 1993 debut, Mellow Gold. During the past decade, the ever-inventive Beck has established himself
as a gifted chameleon, combining the showmanship of James Brown and the funk sensibilities of Prince with his own unique brand
of hip-hop-tinged alternative pop. On Mellow Gold and the more sophisticated Odelay, he fused those styles throwing
in blues, jazz and easy listening for good measure into grand, kitchen-sink productions. Beck left no genre untapped in his
quest for sonic bliss.
But every now and then, as he did on 1994's One Foot in the Grave, he strips down, turns off the sound machines
and revisits his folk roots. Backed by Nigel Godrich, the producer responsible for Radiohead's OK Computer and Kid
A, Beck crafted the vastly underrated Mutations, his warmest, most engaging album since Mellow Gold. Godrich
is back behind the wheel for Sea Change, Beck's seventh solo effort, and the collaboration once again bears fruit:
Sea Change is a work of rare, understated beauty that ranks as one of Beck's finest achievements.
He kicks off the proceedings with "The Golden Age," a lazy, country-flavored ballad that recalls John Denver and Willie
Nelson. But Beck quickly ups the ante with "Paper Tiger," a slow, seductive number whose seamless fusion of strings and slinky
guitar riffs provides a tantalizing blueprint for the rest of Sea Change. "Lonesome Tears," a somber meditation in
the same vein as Mellow Gold's "Blackhole" and Odelay's "Jack-Ass," is a sweeping epic that finds him waxing
melancholic above a swirling sea of mellotrons, clavinets and cellos (imagine Air's Virgin Suicides sound track with
Beck on the mic) that builds into a rousing climax reminiscent of the coda to the Beatles' "A Day in the Life."
But perhaps no song better illustrates Beck's talent for creating luscious, intricately woven soundscapes than "Little
One," the penultimate track on Sea Change. More than "Lonesome Tears" and the languorous "Nothing I Havent Seen," the
tune conveys the profound sense of longing that permeates the album, and Beck's vocals have rarely sounded stronger.
Fans of Beck's exuberant collaborations with the Dust Brothers (Odelay, Vultures) may be disappointed to
find no dance-hall anthems here; indeed, Sea Change doesnt boast an obvious single like "The New Pollution" or "Sexx
Laws," and its tone is subdued by comparison. Even so, it is Beck's most personal album to date, and further proof that he
remains one of the most exciting artists on the planet. Along with Wilco's Yankee Hotel Foxtrot, Sea Change
ranks among the best of 2002. -- Rossiter Drake
Track Listing:
1. |
|
The Golden Age (Beck) - 4:36 |
2. |
|
Paper Tiger (Beck) - 4:35 |
3. |
|
Guess I'm Doing Fine (Beck) - 4:49 |
4. |
|
Lonesome Tears (Beck) - 5:37 |
5. |
|
Lost Cause (Beck) - 3:47 |
6. |
|
End of the Day (Beck) - 5:03 |
7. |
|
It's All in Your Mind (Beck) - 3:05 |
8. |
|
Round the Bend (Beck) - 5:15 |
9. |
|
Already Dead (Beck) - 2:58 |
10. |
|
Sunday Sun (Beck) - 4:44 |
11. |
|
Little One (Beck) - 4:26 |
12. |
|
Side of the Road (Beck) - 3:23 |