Beck - Sea Change
(DGC)
With a reputation as a stylistic chameleon, changing sounds like the seasons,
Beck is often touted for his breakthrough hits while the accompanying albums are subsequently overlooked or dismissed altogether. Yet there are few solo artists who can assemble a full album of engaging original material that maintains a consistent mood or vibe throughout, much less replicate the feat time and again over the course of a career. Not only does Beck accomplish this on a regular basis, but he does so while utilizing a fresh collage of intricate instrumentation and musical influences for each record, taking a theme and exploring it in song without ever betraying his unique identity - a Beck record is always distinctly Beck, regardless of the contents inside.
Sea Change is his latest creation, and it is a thoroughly masterful record from start to finish. A laidback concoction of orchestral strings and acoustic guitar, the album is somewhat similar to Mutations in terms of overall feel, but Sea Change manages to be mellow without becoming quite as downtrodden as its kindred antecedent. "The Golden Age" sets the pace with an acoustic strum guiding slide guitar into a melodic haze as bells accent plucked guitar notes. The trademark touch of producer Nigel Godrich becomes evident early on as warm tones swoop and whoosh into the audible range before launching into the stratosphere, leaving an echo trail of delay dangling over the mix. At times these flourishes can be intrusive, but on tracks like "I Guess I'm Doin' Fine," the dreamy quality of the extended reverb lifts the song off of the ground, floating around as Beck laments, "there's only lies that I'm living / there's only tears that I'm crying." "Lonesome Tears" is highlighted by an active string arrangement that closes out by building and crescendoing in cycles, then slowly disappearing altogether into a swirling mist of processed smoke and mirrors. The orchestration is also nearly overpowering on "Paper Tiger," employing a spare drum beat at the beginning before a symphonic ensemble's worth of cellos and violas bully their way into the chorus and tangle with Beck's guitar solo in the bridge, lessening their dominance as the song fades out.
Backwards trickery signals the beginning of "Lost Cause," one of many songs on the album whose detailed multi-tracking is best appreciated when listening through headphones, bringing the intimacy of the tunes much closer to home.
On songs such as "Nothing I Haven't Seen," the percussion (a cabasa, perhaps?) and drums are brought to the forefront even as they provide only a rhythmic foundation upon which the rest of the tune is built, starting with a bass line.
This sparse backdrop provides Beck with a fitting foundation for his reflective lyrics, drawing the listener in before delivering the melody. Other tracks that feature the same minimal accompaniment include the strolling gait of "Already Dead" and the spare down-tuned folk of "Side Of The Road." "Sunday Sun" stands out from the other cuts with a synth beat keeping time under prominent piano notes as the verse and chorus spar for the attention of the ears, eventually descending into lovely chaos for the final thirty seconds. The most majestic inclusion would be "Little One," a delicately picked verse coupled with a swelling chorus highlighting Beck's harmoninizing and airy background vocals. Even the bridge and coda exude the same subtle confidence, a telling indication that his songwriting strengths will simply never be limited to upbeat party jams or acoustic balladry. Instead, Beck has crafted another complete album of compelling and memorable selections that have been carefully pieced together into one coherent collection. He is able to maintain a mellow clarity throughout, confirming his artistic vision with flashes of brilliance that sidle snugly beside his usual pace of understated genius.
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