You could be forgiven for thinking that David Bowie was already retired and had long ago abandoned the idea of ever making another album. Even his guest appearances, bolstering the credibility of young acts the world over, have become rare as of late. Would you believe that is has been a whole decade since his last record was released? So imagine (or, indeed, remember) the world's surprise when barely a month ago the once and future Ziggy Stardust announced that not only was there going to be another album but that it was already complete and ready for human consumption. So amidst all the hype and second guessing how does The Next Day fare?
The first song to be released from this
album (Bowie's 26th overall, by the way) was the placid 'Where Are We
Now?'. It was a very unlikely choice for a single given its quiet,
retreating nature, and it lead many to question if the former Thin
White Duke had much of anything left to offer. Thankfully the album
opens with the nervy and energetic 'The Next Day' and follows that up
with the deconstructed jazz pop of 'Dirty Boys'. After more than 40
years as a high profile musician Bowie's instinct for writing pop
music is a highly sharpened instrument, one that is practically
unrivaled by any living person. On the flip side of that coin songs
like 'If You Can See Me' are as disheveled and angular as one could
ask for. That particular example is propelled forward by stabs of
guitar, slabs of organ, and a manic beat that unpins the whole lot.
It is a rare but welcome moment of roughness outside of the usual
craftsman-like polish.
A lot of Bowie's own prodigious past is
referenced in these songs, so they can be viewed as a compendium of
past triumphs if one wishes. The garish glam era of the late 1970s
now has a fitting epitaph in 'I'd Rather Be High'. It is the same
situation later in the album on 'How Does The Grass Grow?' with
awkward new wave. The titles, lyrics, and theme of 'Dancing Out In
Space' are familiar like a euphoric Major Tom plummeting back towards
terra firma after a lifetime spent in the infinite void. The album
cover is even a riff on one of his classics. Yes, those meandering
weepers are inevitable (the aforementioned 'Where Are We Now?' is in
fine company with the melodramatic closer 'Heat') but they never
linger long enough to derail the album out of joyful comeback mode
and into “woe-is-me” territory. Its not that they are bad songs
at all – in fact they are masterfully executed – its just that
every aging rock star can churn them out. They are far from new
territory from 70s icons looking to rekindle their fires.
The Next Day, against all odds,
feels like an appropriate continuance from 2003's Reality. At
his age and at this point in his career it is admirable that David
Bowie hasn't fallen into the trap of releasing covers of the “great
American songbook” or rehashing Motown standards. The fact that he
has a vibrant, engaging album of original material at the ripe old
age of 66 is, in itself, a singular achievement. Just deal with the
fact that there will probably never be another Aladdin Sane or
Heroes in your lifetime and you will enjoy the ride.
Rating: B+
Recommended tracks: If You Can See Me, Dancing Out In Space
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