Opening with an apparently radio worthy track that includes a heavy, distorted guitar introduction and evenly dispersed interludes thereafter, Guero, Beck Hansons latest album, hit stores on March 29th as his first official LP since 02s incredibly successful, laid-back and atmospheric Sea Change. Beck is often labeled as a sort of musical chameleon, this particular album sparking memories of David Bowies Low; pushing the use of formulated electronics in conjunction with guitar and vocals.
Oh-so-90s descriptions before the influx of artsy experimentalism and matching outfits of independent music cite association with low-budget labels outside of the influence of the major record companies and a do-it-yourself attitude as requirements for entrance into a scene that is famous for supercilious elitism.
Guero is Becks eighth full length his career now spanning over a decade and, despite his long-standing ties with Geffen, he has managed to stay connected with the individuality-promoting industry throughout. Que Onda Guero, the second track on Guero, comes complete with a prominent drum-beat and nonsense rap, reminiscent of Becks first hit Loser; recorded in the kitchen of now hip-hop producer Karl Stephenson thirteen years ago.
Sadly, more current definitions stress the present importance of sound and appearance over means of production in indie-rock. Delicate, hypnotic and abrasive are all adjectives, however contradictory, used to illustrate the scene to the uninformed: it always has been a setting for and from outsiders, heavily influenced by otherwise unpopular musical styles. If anything, Beck is not a chameleon as much as an experimentalist who has pursued various musical interests without regard for genre: He has turned a blind eye to restrictions and is now returning to his roots.
From the classic: E-Pro, the albums leading track, brings back the harsh guitar from early 90s rock that started the branch to the original independent music. To the modern: Scarecrow opens solely with synthesizers creating whale-like noises that can be found on any Incubus album and is soon accompanied by a drumbeat that immediately conjures the lyrics to Billy Jean. Guero runs the entire gamut. Thief.
Through Guero, Beck has proven that he is indie-rock personified, both classical and contemporary. Unfortunately, that rock has become stagnant. Although he is still an eclectic figure, drawing from all forms of music, Beck has shifted dramatically from a wildly unpredictable, creative force in the industry to one who uses repetition to form yet another album. Without the continuous search and discovery that was Beck pre-Guero there is no thrill; its all been done before.
Highlights: Girl and Earthquake Weather.