Heartbreak has given us Beck back.
It’s been six years since 2008’s “Modern Guilt,” the singer-songwriter’s last proper studio album (at least in the
eyes of those reluctant to consider 2012’s “Song Reader” sheet music release a valid form of an album), but the hiatus hasn’t changed him much.
The overall theme of “Morning Phase” harks back to “Sea Change,” which marked his breakup with fiancée and stylist Leigh Limon. Beck himself recognized the similarity, and touts his new release as a companion piece to the 2002 album.
Companionship to a breakup album is a truly sad concept, but it accurately describes the melancholy composition that is “Morning Phase.” Rejection, loss and uncertainty pervade the album, keeping your attention throughout its 13 tracks in the hope that things might turn around for good old Beck Hansen.
Much like the album’s title suggests, the theme of the temporary nature of heartbreak is persistent, akin to a morning’s mood – bound to ease and pass, the tone is transient and fading; soothing string arrangements and synth flow combine with sparse piano and minimal drums to keep the mood light, in spite of the apparent darkness of Beck’s headspace. The sadness is there, but it is cloudy and vaguely hopeful, like the disappointment of being woken from a happy dream by a perfect summer breeze; one is sad to have lost the illusion but pleasantly surprised by the day it forces him or her to discover.
Songs like “Blue Moon” and “Unforgiven” hammer in the point for anyone who takes until the fifth and sixth tracks to decipher Beck’s message. In “Blue Moon” he sings, “Oh don’t leave me on my own,” a sentiment he follows up with “I will wait for you,” during the chorus to “Unforgiven.”
Despite the personal nature of its lyrics, the album does not come across as self-indulgent, although it occasionally tiptoes the line between pouty and venting. Overall, the lyrics are forthright and honest, and applicable to feelings of loss felt toward anyone, or anything, for that matter.
This is not the Beck who wrote 1994’s “Mellow Gold,” or 2005’s “E-Pro” and “Girl.” This is sad Beck, the one who gets hurt and retreats into Harry Smith’s “Anthology of American Folk Music.” The album is devoid of the wit, charm and ironic lyrics that perked ears up while urging people to, “Shave your face/ With some mace in the dark,” as he did in his smash single “Loser.”
It is, however, hard to pick out standout tracks from the album, as it serves well as a single unit – a whole with many parts. This is the album to listen to as you go about your daily business, both because the instrumentation is fairly consistent throughout and because deeper listening would only prove to be a profoundly sad experience.
After analysis, it’s hard not to view the album as Beck’s attempt at catharsis, an effort to get words into song for the pure reason of not wanting to have them float around in his head. And while it doesn’t provide for a dynamic listening experience, it is in no way a poor album. The arrangements are tight and pretty; reverb laid onto the vocals gives the illusion that Beck’s voice is coming at you from the bottom of a pit, the place that breakups take us.
In short, “Morning Phase” is a time and place in Beck’s life. It will not be known as his best work – in fact, it will most likely not even be in the running. But it’s pretty. Damn pretty. Hats off to a man who can make beauty out of hurt.