The Next Day
David Bowie
Columbia
I should apologise for
the lack of reviews lately; work and “life-related” things have cropped up, forcing
me to take a hiatus. It’s therefore suitable that the first review back from
this break is David Bowie’s The Next Day.
Like me, he too has taken time out from the music scene (a bit more than me;
say 20 years) and has now returned in a blaze of glory and publicity. We are, therefore
quite similar…Except I didn’t move to New York and develop a fear of flying
(Yet).
Title track The Next
Day kicks this album off in full force. Guitars, drums and all manner of
rock n’ roll build till Bowie himself bursts into a crescendo of a chorus;
reassuringly stating that “Here I Am/Not
quite dying/My body left to rot in a hollow tree”. Bowie’s vocals sound as
good as ever, with a certain snarl heard during “And the next day, and the next and another day!” being accompanied
by a thumping drumbeat. Dirty Boys follows,
and is the first of many moody tracks on this album. Bowie’s voice is deeper
and darker, accompanied by sleek and simple guitar riffs that intersperse
themselves between Bowie.
The Stars (Are Out Tonight), released as the second single from the album, is rocky, powerful and upbeat. There’s great power in Bowie’s vocals, playfully painting a frank, illuminating, and somewhat bleak view on modern day celebrity-culture. A cracking video accompanied the release; with David and on-screen wife Tilda Swinton coming face to face with a younger (and intriguingly female) version of himself and the evil ‘stars of today’. Equally quirky and artistic, it makes for reassuring viewing for those who feared that David may have become a “fragile old man” (The Where Are We Know? video probably didn’t help).
The Stars (Are Out Tonight), released as the second single from the album, is rocky, powerful and upbeat. There’s great power in Bowie’s vocals, playfully painting a frank, illuminating, and somewhat bleak view on modern day celebrity-culture. A cracking video accompanied the release; with David and on-screen wife Tilda Swinton coming face to face with a younger (and intriguingly female) version of himself and the evil ‘stars of today’. Equally quirky and artistic, it makes for reassuring viewing for those who feared that David may have become a “fragile old man” (The Where Are We Know? video probably didn’t help).
The long strained notes of a pipe organ create a dark,
almost horror feel to Love Is Lost,
while the beautiful single Where Are We
Know? (Reviewed here) and features a
calmer, more reflective Bowie. The softer backing tracks swells to create a
masterful song that feels both dated and timeless. It is a fitting comeback
single for this living legend. Valentine’s
Day has a certain Starman feel
about it, beautifully crafted with absorbing melodies and intriguing choruses.
Bowie is famous for his cut-and-paste style of writing, taking lyrics of a
song, cutting them up before rearranging. Lyrically, Bowie can sometimes be
hard to decipher then, but this poetic style adds to his mystery and intrigue.
It’s hard not to discuss David’s comeback without mentioning
his retrospective exhibit at London’s V&A Museum. Titled David Bowie Is. it reveals that he’s a
bit of a hoarder (Don’t tell Channel 4) with over 300 different items from his
personal collection on display, ranging from costumes to handwritten lyrics and
much, much more. The open ended
statement, David Bowie Is. is an
interesting concept, questioning who he is, but also whether he can be defined
by pop-culture constraints. This album is similar, with many different Davids
being housed in this jukebox style record.
If You Can See Me
is a chaotic number which sees David’s lyrics being sandwiched between smashing
bells and tumbling guitars. His vocals are lined up with a robotic version of
himself, resulting in a strange mix of Ziggy
Stardust and The Laughing Gnome. The
clanging force of this track is truly breath-taking, and the last 30 seconds of
disappearing sounds and encroaching silence are needed to recover. I’d Rather Be High on the other hand has
a psychedelic tone about it, and makes for an awesome listen. Effortlessly
cool, this track oozes 60s swing turning the tale of a WW2 soldier into a calm
affair.
A haunting saxophone features on Boss Of Me, where Bowie wonders how a “Small town girl like you/Would be the boss of me”. Bowie spans even
more genres as the album progresses; from the groovy dance track Dancing Out Of Space to the jagged How Does The Grass Grow. But ultimately,
The Next Day is a rock album at
heart, and (You Will) Set The World On
Fire showcases this perfectly. From the opening guitar riff through to the
thumping drum beats witnessed during the explosive chorus. You Feel
So Lonely You Could Die winds down the album, before Heat finishes this living legend’s comeback. Once again, this is a
different David; moody, dark and has a certain Les Miserable feel about it. It's retrospective and introspective,
with lyrics such as “And I tell myself, I
don’t know who I am.” leading to more intrigue, and questions. It’s almost
a little open-ended, if albums had cliff-hangers.
A bonus version of The
Next Day is available, containing three more brilliant songs including the
instrumental I’ll Take You There
(From the Stars Are Out video) So She and Plan; a fun and fast track that feels like the proper way to wrap
up this album like this. To be honest, if any real fan has waited this long for
a new release from the Bowie camp then shelling out a few extra pounds for more
Bowie is no question.
So is this an amazing comeback heralding a new Bowie and a
welcome return to the living legend? Yes, would be the short answer. This album
features Bowie at his best; with different sounds, personas and ultimately
different Bowies. It’s a welcome return to the man from Mars, and a defiant
fist-in-the-air for those who thought he was long gone.
