The Kids are just Crass. David Bowie – Album Review: The Next Day


the Next Day

March 1st 2013

So lets get this out of the way. David Bowie hasn’t put out an album in 10 years. He is 66 years old, and he’s still staying current with methods of distribution (not only is the album able to be previewed by the public early but it previews the entire album for free 100% through iTunes. No sound cloud, no 3rd party players. Full on Apple. Talk about ahead of the curve. No pirates. I can’t even access the album till March 13th now. What a smart C#&$

Im sitting on the couch. And I’m about to go to a party. My stomach still languishes from drinking last night because we went to see Excision. We wobbled and swerved. Listening back to the iPhone recording is like listening to static and farts. It was the 3rd time I’ve seen him. I don’t remember his set much. I think that might be a sign i had a good time. I just remember being a very irresponsible drunk. C’est la vie.

This record isn’t for sporadic listening. Its a good thing I’m hung over and not in the mood to move a lot. This is music for a quiet escape. A long commute, with quality headphones. It was meant to be absorbed through osmosis. While the young and dismissive will no doubt look at this album and think “but where is Ziggy Stardust?” I think the people that KNOW David Bowie’s entire catalog will find this is truly a gem. The last track on the album sounds like Bowie’s Berlin trilogy (Moss Garden). Nice.

David’s doing great. His voice is superb, and thats an understatement. His synth work is equally worthy of his voice.While most 20 year olds will dismiss this album as a collection of slow jams,  David really shows a lot of diversity here. By the time your halfway through this album you realize the true scope of the material. He’s got synth waves with doowop. Break beat funk with wailing dervishes. At moments channeling the Beatles and Radiohead at the same time.

The Band is tight.  Bowie on keyboards, Gail Anne Dorsey on Bass (and backing vocals), and Zachary Alford make up the bulk of this album. Multiple Guitar players, a 2nd drummer, a baritone saxophone and pianist. String arrangements. Classic Bowie Lineup. With 4-5 players on each track, it still sounds immersive.

The Production is quality, stereo panning on the guitars, reverse reverbs, long drawn out guitar feedback squeals. Thank you multitrack recording facilities, mastering houses and catering. I hope it sounded amazing on your speakers.

The essence of the music flows like a walk through the fucking park. Jesus. They ought to be. This could be David’s last album and he’s still an attractive male with media stardom. He’s an english gentleman. He tilts and croons like rocker and with a look in his eye like an old dog.

He croons his way from y to z and then he does it. Track 7. Turns the scoreboard around. “If You Can See Me” leaps to the ear so fast it caught me by surprise. It was impressionistc. Cross genre. It molds the stage for a real emotional connection.  Turn and face the strange. Ch-Ch-Ch-Cha-fill in the blank

Track 9″ Boss of Me” showed funk was with the band. It sounded like they enjoyed playing this one a lot. Reminded me of Dr John. Tight stops. There’s a lot of good drumming on this album. Its rare to hear that on a record that sounds so modern. Isn’t that a shame. Last record i heard this tight was Robert Plants Band of Joy. Funny. Well what gets me about the whole thing is how tight the sound is. 60s britain with motown soul. This album has the rhythm in the pocket.

Closing remarks?

The Cats loved it. They fell asleep by the speakers. Many people will buy it. Few Cats will. I think it should be sampled, in dance music. Its a goldmine. Unless that happens, nothing about this music is going to jump up and bite the ass. Its not controversial. Taking a long time between releases is not very controversial. and the kids are just crass

Grade: SoSo.



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