★ [Blackstar]
This is my tenth Bowie album. Bowie likes to do a lot of stuff. He experiments with time signatures and lengths no matter how unconvential. Some great songs of his are too short, and some are dragged out. But he always Bowie's himself through any form of psychedelic, rock, pop, and experimental jargon with some well-written lyrics. Blackstar is probably Bowie's biggest example of his sound(s). In other words, the album starts out with a very different turn from “The Next Day.” This is his 26th studio album, and he hasn't changed a bit. He's still the same guy who can amaze you by doing different things with every album, even if he's reinventing old tricks.
Not perfect, the first track is very, very Bowie. This, of course, is good for the track because Bowie is the only one who can really pull the feel of his albums off. Other people can try, but the truth is if someone else wrote that song, no one would do it as well. This song is like a ten minute version of Dune. The freaky aura and the multiple slow sounds and low amouunts of drama help to emphasize Bowie's love of experimentation. The track reminds me of my friend Hayden Who, who's first album was very experimental jazz that was just like this song: deep, extremely unconventional, thought-provoking, requiring a lot of attention, and worth the listen. The next track is “Tis a Pity,” which steers more toward speed and loudness, whuile slightly drowning out Bowie's soft vocals. Not the best track. Too much saxophone, not enough rhythm. A filler song for an experimental album if I ever heard one. For those who don't know the single called “Lazarus,: the song is the third track. It's very slow and soft. But it still maintains a dark mood from the start, especially after about 30 seconds ewhen David Bowie dsays”Look here, I'm in Heaven.” It's a nice, artsy turn from the highly experimental moments of the first two tracks, making for a mental break from concentration. The song doesn't require a lot of attention. The next track is “Sue.” Sue goes back to the same feel as the second track, but is clearer and less drowned. Bowie doesn't do anything different vocally; he goes deep and depressing like the rest of it. The track also carries the same roughly played but lightly rhythmatic saxophone. The best of the best moments are near the end, when Bowie proclaims “Soooooon, goodbye,” and we hear some really interesting usage of production to mutate the instruments while Bowie goes louder with his voice. This brings a space feel. As for the fifth track, does anyone remember Space Oddity? Yeah you do. Otherwise, you likely wouldn't be reading a David Bowie article. “Girl Loves Me” has softer, cooler bass with a strange production that nearly makes it sound like a backing electronic rhythm for synth pop, and the song itself is softer, heavily produced, yet so simple and quiet that they make an excellent combo. Very creative. Still the mood never changes, which could be good or not. The next track , is much more heavy on the jazz, letting the saxophone actually carry some of the rhythm this time while low vobacking vocals help to emphasize a contradictory creepiness which combines with the light-hearted and cheery jazz so well that contradiction became good. And lastly, transcending from the previous, is "I Can't Give Everything Away." It ends the album very well. The feel is much more jumpy and cheery, although it still amintains a smooth and even pace while being lyrically repetitive and seriously avant-garde (although slowly), making the listener feel good right after hearing all THAT.
It's a very haunting album, one that switches from full mental capacity to soothing lullabies but maintains a depressing scenario until the end, although the music is all that changes while Bowie's vocals and the lyrics are still personal. Bowie uses a lot of the same techniques from the past and reinvents them, as stated. But when I think about it, I've never heard a Bowie album like that. Sure, I heaven;t heard every Bowie album, but this is my tenth.
David Bowie's career spans 26 studio albums, and this is one of his most inventive. Most people lose it by now, if they are “classic artists” anyway. Bowie didn't. Sure, there's a chance that Mr. Bowie may never reach his golden days of Ziggy Stardust and Space Oddity, but he's never really lost his talent/touch. I can't call this the best album of 2016, because '16 started recently and because it's not perfect. It is, however, one of the more stand out ones we'll find this year. Bowie fans will be greatly pleased. Everywhere, people have this album as the only one on their 2016 top 100 lists. And they all say it's near 8. I agree, but I think it's a little closer to a 9/10.
8.6/10.