Modern Guilt

...In hindsight, we now see that he was essentially beefing up his production rate in the years between Mutations and Modern Guilt to complete his contract with Geffen. However, it's with Modern Guilt that he crafted perhaps his most graceful maneuver. Commandeering Dangermouse for the rhythm section to accompany his next set of serious melodic songs was a brilliant move. Having Dangermouse on board allowed Beck to challenge notions of loosing relevance in modern times, but also to set the stage for an awesomely anti-climactic farewell to his label, because Dangermouse applies a decidedly more meek and much different overall approach than the Dust Brothers, although equally sample driven and not dominated by the synthesizer sound of Midnight Vultures or The Information. In essence we are afforded the opportunity to look back at Guero and to see how Beck perhaps imagined it being more like this and would have preferred to just play his simple folk songs to an ample rhythm section. Though I am sure he ultimately has no regrets, it must have been satisfying to fulfill his contract with something so simple, devoid of elaborate orchestration and devoid of grandiose live bands. All along Beck just wanted to be a great songwriter, more than some kind of hit machine that Geffen wanted him to be. As a result, Modern Guilt is a rich album that prioritizes lyrical meaning over quasi-rap absurdity, musical subtlety over textural kitsch, and as such it is a living and breathing record that evolves with each listen and in each environment and company that you listen to it in. Beck seemingly walked into the studio with just his acoustic and a handful of songs from his living room, and came back with the most modest and even-handed accompaniment of his career. Though few may say so, I also feel this is among Dangermouse most spot-on production since "The Good, The Bad and The Queen" or the first Gnarls Barkley (though I enjoy all of DM's work). Maybe if we are lucky, then Beck will really throw us for a loop now that he is independent, and return to the sound of "Stereopathetic Soulmanure." For the dogs tracking him, that just might throw us off his scent.

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Beck never disspoints and since his break through Odelay, he continues to change and produce good music.

His newest record conitnues his traditiion. Electronic with grooves and cool playing or real instruments. Gamma Ray, Modern Guilt (with its groove) and Replica are three of my favorite tracks.

Also if this is the first time you have heard of Beck, make sure to get Odelay, which remains my favorite Beck record.

For anyone put off for any reason, cast that aside. Beck has crafted another solid, incredible album. Chemtrails is one of his best songs ever.

I forget buying this, but when I was reviewing other stuff there it was. Now how did that one song go? That's right I quit listening 20 secs in.

Like all Beck albums there are some catchy tunes and a few experimental tunes, in my opinion crafted to balance his artistic sensbilities while maintaining his pop appeal. At face value most of the songs are enjoyable to listen to, they will make your head nod, or your hips shake :) Though for the more discerning listener you may be left feeeing a bit dissapointed after 5-10 listens by the "single" dimensionality of many of the tracks. That is why I give this album theree 3 stars where most every other Beck album is an easy 4-5 star effort. Stand out tracks "Youthless, Replica, Soul of a Man, and Volcano."