| ★David Bowie — Blackstar (January 8, 2016)★ |
David Bowie — Blackstar (January 8, 2016) ★↔★ Nosíš praštěný kostýmy, nebo tvrdíš, že jsi z jiné planety? Ne? Další! “To je vše, co jsem kdy chtěl / To je poselství, které jsem poslal,” Bowie zpívá hlasem z velké části bez efektů — jasné, elegantní a důrazné. To je rocková hvězda, která dává, když je připravena — a stále dává plnou náručí až do extrémů... The arty, unsettling ‘Blackstar’ is Bowie’s best anti–pop masterpiece since the Seventies ♦♠♦
Location: London, UK ~ New York, NY
Genres: Rock, Music, Pop, Pop/Rock, Prog–Rock/Art Rock
Album release: 8 JANUARY 2016
Recorded: 2014 — 15
Studio: The Magic Shop, (New York, New York)
Record Label: ISO Records/Columbia
Duration: 40:49
Tracks:
1 Blackstar 9:57
2 ‘Tis a Pity She Was a Whore [Explicit] 4:45
3 Lazarus 6:23
4 Sue (Or In a Season of Crime) 4:35
5 Girl Loves Me [Explicit] 4:53
6 Dollar Days 4:36
7 I Can’t Give Everything Away 5:41
℗ 2015, 2016 ISO Records
★Ω★ Personnel adapted from Blackstar liner notes.
♣ David Bowie — vocals, acoustic guitar, mixing, production, string arrangements
♣ Tim Lefebvre — bass
♣ Mark Guiliana — drums, percussion
♣ Kevin Killen — engineering
♣ Erin Tonkon — assistant engineer
♣ Joe Visciano — mixing assistant
♣ Kabir Hermon — assistant engineer
♣ Donny McCaslin — flute, saxophone, woodwinds
♣ Ben Monder — guitar
♣ Jason Lindner — piano, organ, keyboards
♣ Joe LaPorta — mastering engineer
♣ Tom Elmhirst — mixing engineer
♣ Tony Visconti — production, strings, engineering, mixing engineer
♣ James Murphy — percussion on two tracks
Description:
♣ When David Bowie returned from exile with 2013’s ‘The Next Day’, an album that wistfully referenced his late–‘70s art–rock heyday, it felt like this eternal futurist was starting to look back. Wrong, earthlings! Released on his 69th birthday, 25th album ‘Blackstar’ spins the spaceship back around and points it at the moon. Bowie’s formidable record of reinventing himself with each new album remains intact. His first unexpected move was to jettison the band of long–serving musicians who backed him on ‘The Next Day’ in favour of a group of New York jazzbos led by versatile sax player Donny McCaslin. That doesn’t mean ‘Blackstar’ is a jazz album, it just broadens the canvas. Warped showtunes, skronking industrial rock, soulful balladeering, airy folk–pop, even hip–hop — it all has a place on this busy, bewildering and occasionally beautiful record. Editorial Reviews
•Ω• Blackstar is David Bowie’s 28th studio album and his first since stunning the world in 2013 with the critically acclaimed ‘The Next Day’. The release date for Blackstar coincides with David’s birthday. The album’s title track is the first single, and is accompanied by a short film visual by the acclaimed director Johan Renck. Music from the Blackstar single has been featured in the opening title credits and trailers for the new TV series The Last Panthers. The series, also directed by Johan Renck, began airing across Europe in late October, 2015, and will premiere in the U.S. on SundanceTV in Spring, 2016. In addition to the CD and digital albums, a special die-cut vinyl LP package will also be available. Review
BY DAVID FRICKE December 23, 2015
♣ Three years ago, with little warning, David Bowie ended a decade–long break from studio releases with The Next Day. The second album he’s released since that unexpected return to the limelight is an even greater surprise: one of the most aggressively experimental records the singer has ever made. Produced with longtime collaborator Tony Visconti and cut with a small combo of New York–based jazz musicians whose sound is wreathed in arctic electronics, Blackstar is a ricochet of textural eccentricity and pictorial–shrapnel writing. It’s confounding on first impact: the firm swing and giddy vulgarity of “ ‘Tis a Pity She Was a Whore”; Bowie’s croons and groans, like a doo–wop Kraftwerk, in the sexual dystopia of “Girl Loves Me”; the spare beaten–spirit soul of “Dollar Days.” But the mounting effect is wickedly compelling. This album represents Bowie’s most fulfilling spin away from glam–legend pop charm since 1977’s Low. Blackstar is that strange, and that good.
♣ The longest reach is up front, in the episodic, ceremonial noir of the title track. Bowie’s gauzy vocal prayer and wordless spectral harmonies hover over drum seizures; saxophonist Donny McCaslin laces the stutter and chill like Andy Mackay in early–Seventies Roxy Music. The song drops to a blues–ballad stroll, but it is an eerie calm with unsettling allusions to violent sacrifice, especially given recent events. (No who or why is specified, but McCaslin has said the song is “about ISIS”.) ♣ “Something happened on the day he died/Spirit rose a meter, then stepped aside,” Bowie sings with what sounds like numbed grace. “Somebody else took his place and bravely cried: I’m a blackstar.” His use of an ideogram for the album’s title makes sense here — there is no light at the end of this tale.
♣ The album includes a dynamic honing of Bowie’s 2014 single “Sue (Or in a Season of Crime)” with less brass and more malevolent programming; the title song from his current off–Broadway musical production, Lazarus (that’s Bowie firing those grunting blasts of guitar); and a blunt honesty at the finish. Bowie turns 69 on January 8th, the day Blackstar comes out. In “I Can’t Give Everything Away,” he states his case for the dignity of distance — his refusal to tour (so far) and engage with the media circus — against guitarist Ben Monder’s lacerating soprano–fuzz guitar, a sly evocation of Robert Fripp’s iconic soloing in 1977’s “Heroes.” “This is all I ever meant/That’s the message that I sent,” Bowie sings in a voice largely free of effects — clear, elegant and emphatic. This is a rock star who gives when he’s ready — and still gives to extremes.
Rolling Stone: http://www.rollingstone.com/
Website: http://davidbowie.com/blackstar/
Twitter: https://twitter.com/DavidBowieReal
YouTube: https://www.youtube.com/davidbowie
Facebook: https://www.facebook.com/davidbowie
“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“
| David Bowie — Blackstar (January 8, 2016) |
Location: London, UK ~ New York, NY
Genres: Rock, Music, Pop, Pop/Rock, Prog–Rock/Art Rock
Album release: 8 JANUARY 2016
Recorded: 2014 — 15
Studio: The Magic Shop, (New York, New York)
Record Label: ISO Records/Columbia
Duration: 40:49
Tracks:
1 Blackstar 9:57
2 ‘Tis a Pity She Was a Whore [Explicit] 4:45
3 Lazarus 6:23
4 Sue (Or In a Season of Crime) 4:35
5 Girl Loves Me [Explicit] 4:53
6 Dollar Days 4:36
7 I Can’t Give Everything Away 5:41
℗ 2015, 2016 ISO Records
★Ω★ Personnel adapted from Blackstar liner notes.
♣ David Bowie — vocals, acoustic guitar, mixing, production, string arrangements
♣ Tim Lefebvre — bass
♣ Mark Guiliana — drums, percussion
♣ Kevin Killen — engineering
♣ Erin Tonkon — assistant engineer
♣ Joe Visciano — mixing assistant
♣ Kabir Hermon — assistant engineer
♣ Donny McCaslin — flute, saxophone, woodwinds
♣ Ben Monder — guitar
♣ Jason Lindner — piano, organ, keyboards
♣ Joe LaPorta — mastering engineer
♣ Tom Elmhirst — mixing engineer
♣ Tony Visconti — production, strings, engineering, mixing engineer
♣ James Murphy — percussion on two tracks
Description:
♣ When David Bowie returned from exile with 2013’s ‘The Next Day’, an album that wistfully referenced his late–‘70s art–rock heyday, it felt like this eternal futurist was starting to look back. Wrong, earthlings! Released on his 69th birthday, 25th album ‘Blackstar’ spins the spaceship back around and points it at the moon. Bowie’s formidable record of reinventing himself with each new album remains intact. His first unexpected move was to jettison the band of long–serving musicians who backed him on ‘The Next Day’ in favour of a group of New York jazzbos led by versatile sax player Donny McCaslin. That doesn’t mean ‘Blackstar’ is a jazz album, it just broadens the canvas. Warped showtunes, skronking industrial rock, soulful balladeering, airy folk–pop, even hip–hop — it all has a place on this busy, bewildering and occasionally beautiful record. Editorial Reviews
•Ω• Blackstar is David Bowie’s 28th studio album and his first since stunning the world in 2013 with the critically acclaimed ‘The Next Day’. The release date for Blackstar coincides with David’s birthday. The album’s title track is the first single, and is accompanied by a short film visual by the acclaimed director Johan Renck. Music from the Blackstar single has been featured in the opening title credits and trailers for the new TV series The Last Panthers. The series, also directed by Johan Renck, began airing across Europe in late October, 2015, and will premiere in the U.S. on SundanceTV in Spring, 2016. In addition to the CD and digital albums, a special die-cut vinyl LP package will also be available. Review
BY DAVID FRICKE December 23, 2015
♣ Three years ago, with little warning, David Bowie ended a decade–long break from studio releases with The Next Day. The second album he’s released since that unexpected return to the limelight is an even greater surprise: one of the most aggressively experimental records the singer has ever made. Produced with longtime collaborator Tony Visconti and cut with a small combo of New York–based jazz musicians whose sound is wreathed in arctic electronics, Blackstar is a ricochet of textural eccentricity and pictorial–shrapnel writing. It’s confounding on first impact: the firm swing and giddy vulgarity of “ ‘Tis a Pity She Was a Whore”; Bowie’s croons and groans, like a doo–wop Kraftwerk, in the sexual dystopia of “Girl Loves Me”; the spare beaten–spirit soul of “Dollar Days.” But the mounting effect is wickedly compelling. This album represents Bowie’s most fulfilling spin away from glam–legend pop charm since 1977’s Low. Blackstar is that strange, and that good.
♣ The longest reach is up front, in the episodic, ceremonial noir of the title track. Bowie’s gauzy vocal prayer and wordless spectral harmonies hover over drum seizures; saxophonist Donny McCaslin laces the stutter and chill like Andy Mackay in early–Seventies Roxy Music. The song drops to a blues–ballad stroll, but it is an eerie calm with unsettling allusions to violent sacrifice, especially given recent events. (No who or why is specified, but McCaslin has said the song is “about ISIS”.) ♣ “Something happened on the day he died/Spirit rose a meter, then stepped aside,” Bowie sings with what sounds like numbed grace. “Somebody else took his place and bravely cried: I’m a blackstar.” His use of an ideogram for the album’s title makes sense here — there is no light at the end of this tale.
♣ The album includes a dynamic honing of Bowie’s 2014 single “Sue (Or in a Season of Crime)” with less brass and more malevolent programming; the title song from his current off–Broadway musical production, Lazarus (that’s Bowie firing those grunting blasts of guitar); and a blunt honesty at the finish. Bowie turns 69 on January 8th, the day Blackstar comes out. In “I Can’t Give Everything Away,” he states his case for the dignity of distance — his refusal to tour (so far) and engage with the media circus — against guitarist Ben Monder’s lacerating soprano–fuzz guitar, a sly evocation of Robert Fripp’s iconic soloing in 1977’s “Heroes.” “This is all I ever meant/That’s the message that I sent,” Bowie sings in a voice largely free of effects — clear, elegant and emphatic. This is a rock star who gives when he’s ready — and still gives to extremes.
Rolling Stone: http://www.rollingstone.com/
Website: http://davidbowie.com/blackstar/
Twitter: https://twitter.com/DavidBowieReal
YouTube: https://www.youtube.com/davidbowie
Facebook: https://www.facebook.com/davidbowie
“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“”“