Berlin (dpa) – Almost all Popkritiker agreed that this album may cause David Bowie in a new orbit of his stunning career – a late work in which could be expected once more with creative heights
“Blackstar” (Sony) is since last Friday -. Bowie’s birthday – worldwide in stores. It’s what a few days ago hardly anyone knew, became the musical legacy of 69 years of cancer deceased singer and songwriter
The album title now gets an uncanny additional meaning -. Especially since some of the seven between wuchtigem rock and modern jazz oscillating songs to the darkest, most melancholy in Bowie’s career include. Once again, the eternal sound viewfinder and genre-hoppers had reinvented, enter the wild saxophone excursions and nested rhythms of unfettered band territory.
For immediate release and thus also for the classification of texts and sounds of the Master was silent in the run once again from – but a connection with a serious illness was never produced. For many years Bowie was a kind of phantom, once he had been caught in 2003 to a German concert stage a heart attack. Again let Bowie therefore tell in recent weeks selected fellow, as his new album came about and what to make of it.
In the case of “Black Star”, whose spartan cover is dominated by a black star, Been Bowie’s longtime producer Tony Visconti and first Donny McCaslin responsible as the new band leader for the PR and explanatory job. They knew only good things about the shy pop genius and his 25th studio album to report since 1967th But nothing of cancer – which remained a closely guarded secret, like so much in Bowie in the past 50 years
If you look at “Black Star” now also because of its quality setting and not only in the memory of a pop. -Icon? Criticism is unanimous: This is a great late work, but no music for people who only hits like “Heroes” or “Space Oddity” love of Bowie. Visconti gave the “Rolling Stone” a key quote: “The goal was to avoid Rock ‘n’ Roll necessarily.” And McCaslin told the magazine “Uncut” that Bowie had been “so kind and generous”.
Those who had feared that rock solid, but also somewhat frugal comeback “The Next Day” (2013) marked Bowie’s entry in the rock legends pension, was disappointed. One marvels at McCaslin ecstatic saxophone solos and courageous improvisations of the band, the enormous percussion force of Mark Guiliani, electronic experiments and Bowie at least initially irritating departure from the classic verse / chorus song format.
The mission rock -Verweigerung was almost overachieved. Bowie’s radically new sound tied at Radiohead and Massive Attack, with dub and hiphop just like at the Art rock veterans King Crimson or the busy perfecting until Schrägtöner Scott Walker, a peers Bowie. “Black Star” consists of only seven mostly long songs with a total of more than 40 minutes of playing time. Bowie did for his York in New Club “55 Bar” recruited troops phenomenal jazz musicians long leash and forced his quite audible aged voice again to a big idea.
Even the almost ten-minute title track is as a prelude to a earmarked for millions Sales Megastar plate a (nonetheless spectacular) impertinence: Bowie in artificial falsetto, a hectic nervous rhythm, wild sax blower, sombre lines of text – if you have to it reasonably used is, not even around the half of the song, and there is After a short transition, a new, quieter, but no less exciting groove.
You can also sense in songs like “‘Tis A Pity She Was A Whore” or “Sue” how the interaction with younger, of rock dogma has pristine musicians Bowie inspired. A highlight is “Lazarus” – the Briton wrote the song for his eponymous New York musical that in December with the series actor Michael C. Hall (“Dexter”) in the lead role had its premiere
On this occasion. occurred since the heart attack almost twelve years hardly prominent Bowie once again publicly – probably for the last time. If insider rumored about a disease, this did not press to the public. One saw the premiere photos the dramatic deterioration of Bowie’s condition not to – extremely slim, ascetic and somewhat waxy, he worked for some time
With the conciliatory ballad “Dollar Days” and the highly complex “I Can not Give. Everything Away “ends an album that was counted by critics immediately to the best works of the new year – and which will now reach far beyond the 2016th The last chord of a fantastic life’s work. Not many rock musicians is such a benefit granted in the end.
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