Beck
Modern Guilt

THE REVIEW

There is no doubt: David Beck Hansen is a genius, a master.

And after the excellent comeback of his Italian pupil Bugo with the astonishing "Contatti," could we miss his new work, especially in a special year like 2008?

No, fortunately not.

Two years after the last "The Information" (an album I honestly didn't delve into as much as the previous ones), the American sprite delivers his latest effort, titled "Modern Guilt." The first surprise is its duration, just under 34 minutes, considering that Hansen's works usually range from just under 50 minutes to almost an hour.

This time our man is helped by producer Danger Mouse and Cat Power. The latter will be the author of the vaguely retro flavor audible both in the introductory "Orphans," with a vague country flavor, and in "Walls" (don't you feel something that reminds you of the late '60s and early '70s?).

Retro. A word that can sound bad for some, good for others, when used well. And here it is used well. Dictating the rhythm is that spy-story-style bass audible in "Gamma Ray"... very funky, I would say. Sounds that will be heard again in "Youthless." But the track I favor the most is "Chemtrails." Genre? New wave? Noise rock? You judge... those light piano notes combined with a pounding drum are one of Hansen's best ideas for this CD. The final in "Paranoid Android" style is also very enjoyable. Furthermore, it seems he hasn't abandoned rock as it seems, listening to "Soul Of A Man," with a slight blues tinge, and especially "Profanity Prayers" (the most seventies of all). He tends towards the beat and pop (the serious kind, eh) with the title track, featuring a melody that leaves a mark and a "da da da da" that isn't compared to prepackaged pseudo-radio things.

Maybe someone will think that today's Beck is only this, and might even be disappointed. But he still maintains his more electronic side.

To prove this is a certain "Replica," pure jungle, which ends almost hypnotically thanks to the use of an insane marimba.

Everything concludes with the introspective "Volcano," featuring an intense, reflective, doubtful Hansen, obsessed with certain visions.

"I don't know what I've seen
Was it all an illusion?
All a mirage gone bad?
I'm tired of evil
And all that it feeds
But I don't know"

"Modern Guilt" is perhaps a